DUKE 

UNIVERSITY 


WOMAN’S  COLLEGE 
LIBRARY 


♦ 


EARLY  AMERICAN  AND  BRITISH  PORTRAITS 


THE 

REMARKABLE  AND  WIDELY  KNOWN  COLLECTION 

FORMED  BY  THE  CONNOISSEUR,  THE  LATE 

FRANK  BULKELEY  SMITH 

OF  WORCESTER,  MASS. 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 

BY  DIRECTION  OF  THE  ADMINISTRATORS 

. IN  THE  GRAND  BALLROOM  OF 

THE  PLAZA  HOTEL 

UNDER  THE  MANAGEMENT  OF 

THE  AMERICAN  ART  ASSOCIATION 

NEW  YORK 


■-’  '.j  V./  O'  li 


ON  FREE  PUBLIC  VIEW 

AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH,  NEW  YORK 

BEGINNING  SATURDAY,  APRIL  17th,  1920 

FROM  9 . A.  M.  UNTIL  6 P.  M. 

AND  CONTINUING  UNTIL  THE  DAY  OF  SALE 


THE  WIDELY  KNOWN  COLLECTION 

OF  THE  CONNOISSEUR,  THE  LATE 

FRANK  BULKELEY  SMITH 

OF  WORCESTER,  MASS. 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 

BY  DIRECTION  OF  THE  ADMINISTRATORS 
IN  THE  GRAND  BALLROOM  OF 

THE  PLAZA  HOTEL 

FIFTH  AVENUE.  58th  to  59th  STREET 

ON  THURSDAY  AND  FRIDAY  EVENINGS 

APRIL  22nd  AND  23rd 

BEGINNING  PROMPTLY  AT  8.15  O’CLOCK 


58856 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 
Duke  University  Libraries 


https://archive.org/details/illustratedcatal01smit 


ILLUSTRATED  CATALOGUE 
h 

OF  THE 

REMARKABLE  AND  WIDELY  KNOWN  COLLECTION 

OF 

EARLY  AMERICAN  AND  BRITISH 

PORTRAITS,  LANDSCAPES  AND 
HISTORICAL  PICTURES 

FORMED  BY  THE  CONNOISSEUR.  THE  LATE 

FRANK  BULKELEY  SMITH 

OF  WORCESTER,  MASS. 

TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 

BY  DIRECTION  OF  THE  ADMINISTRATORS 

ON  THE  EVENINGS  HEREIN  STATED 

IN  THE  GRAND  BALLROOM  OF 

THE  PLAZA  HOTEL 


THE  SALE  WILL  BE  CONDUCTED  BY  MR.  THOMAS  E.  KIRBY  AND  HIS 
ASSISTANTS,  MR.  OTTO  BERNET  AND  MR.  H.  H.  PARKE,  OF 

THE  AMERICAN  ART  ASSOCIATION,  MANAGERS 

NEW  YORK 


1920 


0^2  P 


THE  AMERICAN  ART  ASSOCIATION 
DESIGNS  ITS  CATALOGUES  AND  DIRECTS 
ALL  DETAILS  OF  ILLUSTRATION 
TEXT  AND  TYPOGRAPHY 


CONDITIONS  OF  SALE 


1.  Any  bid  which  is  merely  a nominal  or  fractional  advance  may 
be  rejected  by  the  auctioneer,  if,  in  his  judgment,  such  bid  would  be 
likely  to  affect  the  sale  injuriously. 

2.  The  highest  bidder  shall  be  the  buyer,  and  if  any  dispute  arise 
between  two  or  more  bidders,  the  auctioneer  shall  either  decide  the  same 
or  put  up  for  re-sale  the  lot  so  in  dispute. 

3.  Payment  shall  be  made  of  all  or  such  part  of  the  purchase 
money  as  may  be  required,  and  the  names  and  addresses  of  the  pur- 
chasers shall  be  given  immediately  on  the  sale  of  every  lot,  in  default 
of  which  the  lot  so  purchased  shall  be  immediately  put  up  again  and 
re-sold. 

Payment  of  that  part  of  the  purchase  money  not  made  at  the 
time  of  sale  shall  be  made  within  ten  days  thereafter,  in  default  of 
Avhicli  the  undersigned  may  either  continue  to  hold  tlie  lots  at  the 
risk  of  the  purchaser  and  take  such  action  as  may  be  necessary  for 
the  enforcement  of  the  sale,  or  may  at  public  or  private  sale,  and 
without  other  tlian  this  notice,  re-sell  the  lots  for  the  benefit  of  such 
purchaser,  and  tlie  deficiency  (if  any)  arising  from  such  re-sale  shall 
be  a charge  against  such  purchaser. 

4.  Delivery  of  any  purchase  will  be  made  only  upon  payment 
of  the  total  amount  due  for  all  purclfascs  at  the  sale. 

Deliveries  will  be  made  on  sales  da^^s  between  the  hours  of  9 
A.  ]\I.  and  1 P.  M.,  and  on  other  days — except  holidays — between  the 
hours  of  9 A.  M.  and  5 P.  INI. 

Delivery  of  any  purchase  will  be  made  only  at  the  American  Art 
Galleries,  or  other  place  of  sale,  as  the  case  may  be,  and  only  on  pre- 
senting the  bill  of  purchase. 

Delivery  may  be  made,  at  the  discretion  of  the  Association,  of 
any  purchase  during  the  session  of  the  sale  at  which  it  was  sold. 

5.  Shipping,  boxing  or  Avrapping  of  purchases  is  a business  in 
which  the  Association  is  in  no  wise  engaged,  and  will  not  be  performed 


by  the  Association  for  purchasers.  The  Association  will,  however, 
afford  to  purchasers  every  facility  for  employing  at  current  and 
reasonable  rates  carriers  and  packers ; doing  so,  however,  without  any 
assumption  of  responsibility  on  its  part  for  the  acts  and  charges  of 
the  parties  engaged  for  such  service. 

6.  Storage  of  any  purchase  shall  be  at  the  sole  risk  of  the  pur- 
chaser. Title  passes  upon  the  fall  of  the  auctioneer’s  hammer,  and 
thereafter,  while  the  Association  will  exercise  due  caution  in  caring 
for  and  delivering  such  purchase,  it  will  not  hold  itself  responsible  if 
such  purchase  be  lost,  stolen,  damaged  or  destroyed. 

Storage  charges  will  be  made  upon  all  purchases  not  removed 
within  ten  days  from  the  date  of  the  sale  thereof. 

7.  Guarantee  is  not  made  either  by  the  owner  or  the  Association 
of  the  correctness  of  the  description,  genuineness  or  authenticit}’  of  any 
lot,  and  no  sale  will  be  set  aside  on  account  of  any  incorrectness, 
error  of  cataloguing,  or  any  imperfection  not  noted.  Ever}'  lot  is 
on  public  exhibition  one  or  more  days  prior  to  its  sale,  after  which 
it  is  sold  “as  is”  and  without  recourse. 

The  Association  exercises  great  care  to  catalogue  every  lot  cor- 
rectly, and  will  give  consideration  to  the  opinion  of  any  trustworthy 
expert  to  the  effect  that  any  lot  has  been  Incorrectly  catalogued,  and, 
in  its  judgment,  may  either  sell  the  lot  as  catalogued  or  make  mention 
of  the  opinion  of  such  expert,  who  thereby  would  become  responsible 
for  such  damage  as  might  result  were  his  opinion  without  proper 
foundation. 


AMERICAN  ART  ASSOCIATION, 

American  Art  Galleries, 
iVIadison  Square  South, 

New  York  City. 


CATALOGUE 


FIRST  EVENING’S  SALE 


THURSDAY,  APRIL  22,  1920 

IN  THE  GRAND  BALLROOM 
OF  THE  PLAZA 

BEGINNING  AT  8.15  o'CEOCK 


UNKNOWN  ARTIST 
^ \~THE  FUE SUING  SATYR 

(Wood) 

Height,  inches;  width,  7 inches 

Two  small,  full-length  nude  figues.  A n^unph  attempts  to  climb  a tree 
in  her  effort  to  escape  from  the  satyr  who,  approaching  from  the  left, 
attempts  to  assault  her.  Blue  sky  at  the  back 


BYZANTINE  SCHOOL 
2— AN  IKON:  THE  MADONNA  AND  CHILD 

(Wood) 

Height,  131/4  inches;  width,  IO14  inches 

The  Madonna,  in  fanciful  Gr.TCO-Byzantine  robes  and  with  a large  cir- 
cular nimbus,  holds  the  Infant  on  her  left  arm.  Greek  inscription  of 
“The  Mother  of  God”  in  the  roundels  at  the  back.  The  whole  compo- 
sition is  contained  within  a brown  and  an  outer  red  border. 


THOMAS  STOTHARD,  R.A. 

English:  1755 — 1834 

3— A MIDSUMMER  NIGHT’S  DREAM 

(Wood) 

Height,  9 inches;  width,  6%  inches 

A NUDE  figure  reclines  on  her  side  in  a blaze  of  light  in  a bower.  She 
makes  a gesture  to  a cupid  on  the  left ; another  is  above,  on  the  right. 


UNKNOWN 

Early  American  School 

^—PORTRAIT  OF  A YOUNG  MAN 

( Panel) 

Height,  9^  inches;  width,  inches 

Half-length  seated,  facing  the  front,  shoulders  turned  slightly  to 
left.  A young  gentleman  of  high  and  broad  forehead,  large  eyes  and 
nose,  smooth-shaven  and  with  thick  brown  hair  swept  lightly  above  his 
brow  and  brought  easily  forward  beside  his  temples.  He  is  in  formal 
dress,  toward  the  second  quarter  of  the  nineteenth  century,  with  black 
coat  and  double-breasted  cream-colored  ivaistcoat,  choker  collar  and 
heavy  black  cravat.  Dark  neutral  background  of  greenish-blue. 


UNKNOWN 

Early  American  School 


^—PORTRAIT  OF  A MAN 

Height,  10  inches;  width,  8 inches 

A MAN  in  middle  life,  of  much  dignity  of  bearing,  seated  and  facing  the 
left,  three-quarters  front,  and  observed  at  half-length  against  a neutral 
background  of  light  grayish-brown.  His  sandy  hair  has  retreated  from 
his  already  high  forehead,  and  except  for  short  side-whiskers  he  is 
clean-shaven ; complexion  warm.  He  wears  a blue  coat  with  high- 
rolled  collar,  white  collar  with  choker-wings  and  black  cravat,  and  white 
waistcoat  which  opens  low. 


HENRY  INMAN 

American:  1801 — 1846 

6-  PORTRAIT  OF  A MAN 

(Panel) 

Height,  16  inches;  width,  12  inches 

Three-quarter-length  portrait  of  a gentleman  in  full  middle  life, 
seated  and  facing  the  spectator,  to  right,  three-quarters  front.  He  is 
of  high  and  broad  forehead  and  large  features,  with  agreeable  expres- 
sion and  thoughtful,  and  he  holds  a book  in  both  hands,  resting  on 
his  lap,  a finger  between  the  leaves.  Smooth-shaven  after  the  fashion 
of  his  time,  curly  side-whiskers  connecting  with  his  dark  hair  disappear 
within  his  choker  collar,  about  which  is  worn  a deep  black  stock.  Black 
coat  and  velvet  waistcoat,  and  buff  trousers. 


Attributed  to 

SIR  JOSHUA  REYNOLDS 

English:  1723—1792 

7— A YOUNG  GIRL 

Height,  inches;  width,  11  inches 

Bitst,  leaning  forward;  brown  liair;  blue  eyes  looking  to  the  right.  In 
a red  dress. 


UNKNOWN 

Early  American  School 

^—PORTRAIT  OF  A LADY 

Height,  12  inches;  width,  10  inches 

Half-length,  seated ; to  right,  three-quarters  front.  A ladv  young 
but  mature,  with  large  features,  and  curled  hair  of  deep  mahogany- 
brown  hue.  In  a very  low-necked  white  gown,  edged  with  lace,  green 
belt,  and  over  her  arms  a wra])  or  drapery  of  golden-brown.  Neck 
encircled  by  a long  gold  watcli  chain  and  a coral  necklace.  In  her  hair 
a bunch  of  flowers.  A companion  to  No.  9 and  by  the  same  artist. 


UNKNOWN 

Early  American  School 

Q— PORTRAIT  OF  A GENTLEMAN 

Height,  12  inches;  zcidth,  10  inches 

Half-length,  seated;  to  left,  with  face  three-quarters  front.  A 
smooth-shaven  young  man  with  light  and  bushy  chestnut  hair,  large 
features  and  a smiling  expression.  He  is  in  the  costume  of  the  early 
nineteenth  century,  a coat  of  deep  greenish-blue  with  gilt  buttons,  white 
choker  collar  and  stock,  and  creamy  waistcoat.  A companion  portrait 
to  that  of  the  lady.  No.  8,  and  b}"  the  same  artist. 


JOHN  COLE,  JR. 

British  School 


\0— PORTRAIT  OF  A MAN 

Height,  12Yj  inches;  width,  10%  inches 

Bust  portrait,  to  riglit,  with  face  nearly  full  to  the  front ; a youngish 
man,  with  fair  skin  and  pinkish  cheeks ; clean-shaven ; hair  of  light 
sandy-yellow,  brushed  with  engaging  and  effective  carelessness  in 
sweeps  and  curls  which  twist  around  his  brow  and  temples.  In  black 
with  white  stock.  Neutral  grayish  background. 

GUSTAVUS  HESSELIUS 

American  : Early  Eighteenth  Century 

\\—JOHN  LEEDS  (1705-1790) 

Height,  Id  inches;  zcidth,  12  inches 

Hai,f-length  portrait  of  a smooth-shaven  man,  plump  and  of  ros}' 
face,  with  prominent  nose  and  large  dark  brown  eyes ; seated,  to  right, 
three-quarters  front,  with  light  from  the  left  and  against  a dark  back- 
ground. He  wears  a large  turban-like  cap  of  old-rose,  and  a dark 
olive  coat  with  old-rose  revers,  an  olive-brown  waistcoat  and  a white 
neckcloth. 

John  Leeds  was  horn  at  the  family  homestead  in  the  Bay  Hundred  of  Talbot 
county,  Md.,  and  died  at  Wades  Point  Plantation.  He  was  Surveyor-General  of 
Maryland,  and  in  17()0-17C4  was  specially  commissioned  to  supervise  the  boundary 
between  Maryland  and  Pennsylvania.  In  1709  he  wrote  “Observations  of  the  Transit 
of  Venus.”  He  was  for  forty  years  clerk  of  the  County  Court;  was  treasurer  of 
the  Eastern  Shore;  was  Judge  of  the  Province  Court. 

The  jjortrait  came  from  the  residence  of  Charles  J.  Kerr,  at  one  time  United 
States  Attorney  at  Baltimore,  a great-great-grandson  of  John  Leeds  of  Wades  Point. 

Gustavus  Hesselius  was  a Swede  by  birth,  who  came  to  America  in  1711,  and 
established  himself  as  a man  of  mark  in  the  early  art  of  the  Colonies,  whose  artistic 
worth  has  been  recognized  by  succeeding  critics.  He  was  the  father  of  the  American 
portrait  ])ainter  John  Hesselius,  who  was  born  in  1728  and  whose  portraits  are 
found  in  Maryland  following  the  middle  of  the  Eighteenth  century.  John  Hesselius’s 
natal  year  coincided  with  the  mortal  year  of  Henrietta  Johnson,  whose  work  is 
represented  in  this  collection.  The  portrait  here  identified  as  of  John  Leeds  by 
those  whose  authority  Mr.  Smith  accepted  is  not  aggressively  American  in  its  sug- 
gestion, yet  its  color  and  inspiration  seem  less  foreign  in  the  light  of  a remark  by 
Charles  Henry  Hart  that  “Gustavus  Hesselius  of  Sweden  * * * still  holds  the  place 
of  the  first  painter  of  consideration  in  the  Colonies,  whose  Last  Supper,  executed  in 
1721-1722,  is  quite  equal  in  conception  and  execution  to  the  same  subject  j)ainted 
by  many  of  the  Old  Masters.” 


THOMAS  DOUGHTY 

American:  1793 — 1856 

V2— LANDSCAPE  WITH  FIGURES 

X 

Height,  12^  inches;  length,  15%  inches 

A RIVER  silvery  blue  and  white  from  the  sky  and  shadowed  by  reflections 
of  trees  and  rocks  on  its  banks  comes  through  a green  landscape  some 
of  whose  foliage  has  turned  to  autumn  browns.  At  left  in  the  fore- 
ground are  two  young  men,  one  standing,  one  seated,  their  trousers 
rolled  up  to  their  knees,  fishing. 


GEORGE  MORLAND 
English:  1763 — 1804 

IS—SEASCAPE 

Height,  13  inches;  length,  16^  inches 
A TWO-MASTED  ship  in  a gale  near  rocks,  on  the  left.  Cloudy  sk^L 


MANNER  OF  HOGARTH 
14— AN  INTERIOR 

(Wood) 

Height,  15  inches;  width,  11),4  inches 

Four  small  half-length  figures.  An  old  lady,  in  brown  dress  and  black 
mantle,  is  seated  near  a table  on  which  are  gold  coins  and  documents. 
She  addresses  a man  by  her  side,  while  another  examines  a timepiece 
and  a third  hands  her  a receipted  paper.  A dog  on  a chair  in  the  right 
foreground. 


GEORGE  :mori:axd 

English:  1T().‘3 — 1804 

15— A FARM  HAND  RESTING 


Height,  12  inches;  zcidth,  10  inches 


Small,  full-length  figure  of  a farm  laborer,  in  a red  coat,  seated  under 
a tree  with  a hay  fork  by  his  side,  a tlog  on  the  ground  ; the  village 
church  in  the  distance. 


Period  or 

HOGARTH 

16— AiV  ARTIST  IN  CONTEMPLATION 

Height,  15%  inches;  width,  inches 


Small  full-length  figure  of  a dwarf  who,  as  an  artist,  admires  a paint- 
ing of  a nude  woman  Ixion  who  stands  on  a wheel  placed  on  the  ground 
between  two  horses.  Papers  near  a chair  in  the  foreground. 


SIR  DAVID  WILKIE,  R.A. 

English:  1785—1841 

11— THE  BLIND  FIDDLER 

Height,  9 inches;  length,  lll/^  inches 


An  itinerant  musician  is  entertaining  a cottager  and  liis  famiR;  the 
father  gaily  snaps  his  fingers  at  an  infant  on  the  knees  of  its  mother. 
All  of  the  twelve  small  figures  appear  to  be  intent  upon  the  music  of 
the  fiddlei*.  The  accessories  are  very  minute  and  elaborateW  painted. 

The  composition  recalls,  but  differs  from  that  by  Wilkie  in  the  National  Gallery, 
London,  which  is  signed  and  dated  and  measures  23  inches  by  31  inches.  The 
larger  picture  is  discussed  at  length  in  Pinnington's  “Wilkie,”  p.  67. 

Mr.  Philip  J.  Centner,  director  of  the  Worcester  Art  Museum,  writing  to  Mr. 
Frank  Bulkeley  Smith,  on  May  10,  1913,  says: 

“Wilkie’s  painting  ‘The  Blind  Fiddler,’  exhibited  some  months  ago  in  the 
Worcester  Art  Museum,  is  probably  a smaller  work  executed  as  a model  for  his 
larger  one  now  in  the  National  Gallery,  London.  The  latter  work,  executed  for  Sir 
George  Beaumont,  was  painted  with  exceptional  care  and  under  circumstances 
which  gave  it  unusual  reputation,  but  for  all  that  its  superiority  to  your  little 
masterpiece  is  doubtful.  Both  exhibit  the  same  scrupulous  drawing,  mastery  of 
exact  detail  and  bright  local  coloring  kept  in  harmony  by  the  clear  silvery  qualities 
of  tone  and  interior  light  for  which  Wilkie  remains  unrivalled.” 


SIR  WILLIAM  BEECHF.Y,  R.A. 

English:  1753 — 1839 

\^—BEGGAl{S  AT  A COTTAGE  DOOR: 

SCENE  NEAR  DOVER,  ENGLAND 

( Panel) 

Height,  12  inches:  length,  14*/o  inches 

An  aged  beggar,  with  a load  of  faggots  on  his  back,  appears  at  the 
door  of  a cottage  in  the  left  foreground  and  begs  alms  of  two  girls.  On 
the  right  is  a high  bank,  the  sea  in  the  distance. 

On  the  hack  of  the  panel  in  the  artist’s  own  handwriting:  “This  picture  sketched 
from  Nature  and  painted  at  the  house  of  David  Pyke  \Vatts,  Esqr.  to  whom  it 
was  presented  as  a mark  of  humble  esteem  and  regard  hy  his  sincere  friend, 
W.  Beechey,  1802.” 

One  of  four'  companion  pictures  presented  in  1802  hy  the  artist  to 
David  Fyke  (or  Pike)  Watts,  of  Dover  and  of  Portland  Place. 
London. 

In  the  collection  of  Jesse  Watts  Russell,  of  Tlam  Hall,  Staffs,  sold 
July  3,  1875,  Xo.  4.  Sold  at  Christie's,  May  6,  1905. 

In  the  possession  of  E.  E.  Leggatt  Bros.,  London,  and  of  C.  TP.  Kraus- 
haar.  New  York. 

Roberts:  “W.  Beechey,"  1907,  p.  79. 


WII.LIAM  ETTY,  R.A. 

English:  1787—1849 


19— A NUDE 


(Panel) 

Height,  20  inches;  leidth,  14  inches 

A SMALL  full-lengtli  figure  of  a nude  ivoman,  her  back  to  the  spectator, 
in  a studio.  She  rests  her  right  knee  on  a cushion.  A red  curtain  in 
the  background. 


SIR  EDWIN  H.  LANDSEER,  R.A. 

English:  1802 — 1873 

20^THE  RETURN  FROM  HAWKING 

Height,  26  inches;  width,  19^  inches 

Two  small  full-length  figures.  A woman  in  a white  dress  and  green 
cloak  stands  at  tlie  door  of  the  house;  a dog  at  her  side.  She  receives 
a young  man,  in  a red  coat,  who  returns  from  the  day’s  sport  with 
game  hung  over  his  slioulders.  Sketchily  painted. 

Landseer  painted,  and  exhibited  at  the  Royal  Academy  in  1837,  a picture  with 
this  title.  It  contains  the  portraits  of  Lord  Francis  Egerton  (afterward  created 
Earl  of  Ellesmere)  and  family.  It  belongs  to  the  Earl  of  Ellesmere.  It  was 
engraved  by  Samuel  Cousins  in  18-10,  and  by  C.  G.  Lewis;  there  is  also  a lithograph 
tw  I.afosse. 

A.  Graves:  “Landseer,”  ]>.  19. 

From  the  collection  of  A.  Harris,  who  paid  Landseer  £110  for  it.  The 
autograph  account  is  affhred  to  the  hack  of  the  panel. 


JOHN  CKOME  (OLD  CROME) 

English:  1768 — 1821 

21— F ART  OF  A FOREST 

Height,  25  inches;  •width,  20  inches 

On  the  outskirts  of  a wood,  a man  and  a woman  are  seated  on  the  trunk 
of  a fallen  tree.  Cottages  and  other  figures  in  the  right  distance. 

Purchased  from  Messrs.  Arthur  Tooth  Sons,  London. 


THOMAS  DOUGHTY 

American:  1793 — 1856 

22— LANDSCAPE  WITH  FI  GIBE 

( Panel) 

Height,  181/4  inches;  zcidth,  llyg  inches 

A HIGH  cliff  of  brownish  shale  rock  abuts  on  the  right,  its  centre  eroded, 
a naked  ledge  lielow,  and  a crest  ledge  above  topped  by  green  trees  and 
shrubs.  In  the  foreground  to  right,  other  trees  rise  against  the  shale 
wall,  and  wild  flowers  bloom  at  their  foot,  at  the  edge  of  a stream  which 
winds  back  along  a densely  wooded  background  shore  at  the  left.  On  a 
green  bank  at  the  foot  of  the  lower  rock  ledge  a man  in  his  shirt-sleeves 
stands  fishing  with  a pole  and  line. 


THOMAS  DOUGHTY 

Ameuican  : 1793 — 1856 

23~LANDSCAPE 

Height,  18  inches;  xmdth,  15  inches 

At  left  in  sunliglit  a cliff  of  various  ledges,  with  slender  trees  crowning 
it,  and  other  trees  showing  autumn  colors  and  some  blasted  limbs  pro- 
jecting at  different  levels  lower  down.  At  right  a taller  cliff  partly  in 
its  own  shadow,  its  face  a mass  of  dense  green  trees,  broken  only  by 
occasional  outstanding  walls  of  brown  rock.  In  tbe  gorge  between 
the  cliffs  a dark  green  river  of  placid  current,  and  on  it  in  the  right 
foreground  two  men  in  a boat. 


GEORGE  DE  FOREST  BRUSH,  X.A. 

American:  1855 — 


-n—THE  WEAVER 

Height,  12  inches;  length,  15  inches 

In  a plain  room  whose  brown  and  gray  walls  are  partly  shadowed,  a 
Navajo  Indian  squats  low  on  a seat  formed  of  two  logs  with  a skin 
thrown  over  them,  and  works  at  his  primitive  loom,  weaving  a dark 
vermilion  and  checkered  rug.  He  is  nude  save  for  a black  silver-studded 
belt  supporting  a loose  and  flowing  breech  cloth  of  dark  green,  and  his 
black  hair  is  bound  in  an  orange  fillet.  Behind  him  is  a water  bottle  of 
dark  green  pottery,  and  above  him  hangs  a black  and  gray  woven 
blanket. 

Signed  at  the  lorcer  right.  Geo.  de  F.  Brush,  1909. 
Exhibited  at  the  Worcester  Art  Museum. 


WINSLOW  HOMER,  X.A. 

American:  1836 — 1910 

25— THE  COCK  FIGHT 

(Water  Color) 

Height,  lO^A  inches;  length,  19  inches 

A PROUD  tliougli  much-punished  game  cock,  with  head  and  clipped  tail 
erect,  stands  athwart  the  picture,  over  the  body  of  his  finished  antag- 
onist, while  the  ground  about  them  is  strewn  with  feathers  from  both 
of  the  valiant  birds. 

Signed  at  the  loicer  right,  Homer,  1885. 

Manuscript  note  on  the  back,  by  Mr.  Smith,  saying  that  he  met  Homer  at 
M.  Knoedler  & Co.’s  in  1910,  and  that  Homer  told  him  he  painted  three  pictures 
of  game  cocks  when  in  Santiago  de  Cuba  in  188.5;  that  one  of  them  (this  picture) 
went  to  La  Farge,  who  later  sold  it. 

From  M.  Knoedler  (§•  Co.,  1910. 


UNKNOWN 

Early  American  School 


2Q— SIGNERS  OF  THE  DECLARATION 

OF  INDEPENDENCE 

Height,  {each)  10%  inches;  width,  9 inches 

Set  of  fifty-four  oil  portraits  on  heavy  millboard,  probably  painted  in 
the  early  part  of  the  second  quarter  of  the  nineteenth  century  (when 
three  of  the  Signers  were  still  living)  ; contemporary  identification  in 
manuscript  on  back  of  each.  An  old  catalogue  record  says : “Evidently 
painted  many  years  ago  for  engravers’  use  or  for  some  historical 
museum.  Bought  in  Philadelphia  many  years  ago,  and  it  is  possible 
they  came  from  Peak’s  Museum.  Without  doubt  seventy-five  years 
old.”  The  frames  bear  the  label,  “Jules  A.  Bautz,  Maison  Francaise, 
290  Sixth  avenue,  N.  Y.”  Nearly  complete  set — fifty-three  of  the 
fixty-six  Signers,  and  portrait  of  Chai'les  Thompson,  the  secretary ; the 
three  Signers  whose  portraits  are  missing,  were  Benjamin  Franklin, 
Samuel  Huntington  and  James  Smith.  Ten  of  the  portraits  have  old- 
fashioned  gold  frames ; the  others  are  unframed. 


UNKNOWN 

Early  American  School 

27— GEORGE  WASHINGTON 

(Oval  panel) 

Vertical  diameter,  22%  inches;  horizontal,  19%  inches 

Head  and  shoulders  portrait  of  the  First  President,  in  civilian  clothes, 
with  black  coat  and  grayish  waistcoat,  and  white  stock  and  jabot. 
Shoulders  to  left,  face  nearly  full  to  the  front,  and  gray  wig  tied  with 
a black  bow.  The  features  are  finely  drawn  and  full  of  color,  and 
show  an  incipient  humorous  smile  which  is  emphasized  by  the  glance  of 
the  eye.  Painted  within  a reeded,  basketed  and  beflowered  frame  as 
though  copied,  or  enlarged  from  a miniature,  the  background  a 
neutral  brownish-gray. 


FRANCIS  AI.FXANDEK 

Ameuk’ax:  1800 — 1881 

2S~JOHN  L.  GOULD 

( I’anel) 

Height,  81/>  inches;  zcidth.  TI4  i^iches 

Three-quarteu-lexgth  })ortrait  of  a youngisli,  sniootli-shaven  man, 
stout,  with  high  forehead  and  liglit  curly  liair,  the  hair  bruslied  well 
back;  seated,  facing  the  left,  three-quarters  front.  He  is  in  a gray 
coat,  with  Byronic  collai’  and  black  flowing  scarf,  and  white  plaited 
shirt.  His  left  arm  rests  on  a red-covered  table  which  holds  a book,  an 
inkwell  and  writing  paper,  and  in  his  left  hand  he  holds  a quill  pen. 

Francis  Alexander  was  horn  at  Windliain,  Connecticut.  In  1820  he  came  to 
New  York  and  studied  under  Alexander  Robertson  and  in  1838  went  to  Rome. 
Thereafter  he  was  in  Boston  for  a decade,  and  there  in  1842  painted  Charles  Dickens. 
He  died  in  Florence. 


HENRY  INMAN 

American:  1801 — 1816 

29— PORTRAIT  OF  THE  ARTIST’S  FATHER 

Height,  151/4  inches;  width,  12^  inches 

A MAN  of  bold  features  and  florid  complexion,  with  thick  dark  hair  care- 
lessly brushed,  and  large  eyes  directed  at  the  spectator,  is  portrayed  at 
full  length,  seated  in  a heavy  armchair  and  facing  the  right  with  head 
turned  almost  full  to  the  front.  He  is  smooth  shaven,  with  the  choker 
collar  and  large  black  cravat  of  his  day,  white  pleated  shirt  with  large 
pearl  pin,  gray  waistcoat  and  formal  black  suit.  His  hat  and  stick  are 
on  a green-covered  table  beside  him,  at  the  foot  of  which  his  dog  is 
lying.  Background  of  mahogany-hued  drapery,  gray  pillar  and  a river 
landscape  with  sail  and  steamers. 

Inman’s  father  was  an  Englishman,  and  he  and  his  wife  were  among  the  first 
settlers  of  Utica,  New  York,  where  the  son  was  born.  The  father  encouraged  the 
son  in  his  leaning  toward  art,  and  in  1812  the  family  moved  to  New  York  and  the 
son  pursued  his  studies. 


UNKNOWN 

Early  American  School 


^0~~B1SHOP  G.  W.  DOANE  (1799-1859) 

( Panel) 

Height,  11  inches;  width,  7 inches 

Half-length,  witli  tlie  hands  included ; figure  slightly  to  the  right  and 
face  almost  full^"  to  the  front.  The  distinguished  Churchman  appears 
a man  of  intellectual  features  and  thoughtful  expression,  and  penetrat- 
ing hut  kindly  eyes.  He  is  beardless,  and  his  dark  brown  hair  is 
brushed  down  in  thin  and  curling  strands  over  his  high  forehead.  He 
wears  surplice  and  bands  and  a black  stole,  and  holds  a prayer-book  in 
both  hands,  a finger  of  his  right  hand  between  the  leaves.  Brown  back- 
ground. (The  panel  bears  on  its  face,  visible  when  turned  to  the 
horizontal,  to  right,  an  impressed  advertisement  in  large  letters  and 
figures  beneath  the  pigment:  “J.  Green,  1815.”) 

Bishop  George  Washington  Doane  was  born  at  Trenton,  X.  J.,  in  1799,  and 
ordained  a priest  of  the  Protestant  Episcopal  Church  in  1821.  He  was  elected 
Bishop  of  New  Jersey  in  1832,  and  in  1846  he  founded  Burlington  College,  in 
New  Jersey.  Before  his  election  as  Bishop  of  New  Jersey  he  preached  for  several 
years  in  New  York  City  and  Boston.  His  son,  George  Hobart  Doane,  who  was 
graduated  from  Burlington  College  in  1850,  liecame  a Roman  Catholic  five  years 
later,  was  admitted  to  priesthood  in  that  Church,  and  afterward  was  at  the  Cathedral 
Church  in  Newark,  N.  J.,  and  served  as  Vicar-General.  He  was  made  a domestic 
prelate  to  the  Pope  and  in  his  later  life  was  known  as  Monsignor  Doane. 


FRAXCIS  ALEXANDER 

American:  1800 — 1881 

^\— MASTER  LORD 

( Panel) 

Height,  18%  inches;  width,  10),4  inches 

Head  and  shoulders  of  a boy,  painted  as  a portrait  within  an  oval 
frame,  on  the  rectilinear  panel.  He  looks  out  to  the  right,  three-quar- 
ters front,  a strong  light  from  the  left  illumining  the  right  half  of  his 
face,  the  left  half  being  in  transparent  shadow.  He  has  short  and  very 
light  golden  hair  and  rosy  cheeks,  and  wears  a wide  and  fluted  white 
collar  over  a blue  coat  with  metal  buttons  and  a golden-buff  waistcoat. 
1)  ark  background  within  the  painted  oval  frame,  which  itself  is  reddish. 

Francis  Alexander  was  liorn  at  AVindhain,  Connecticut,  and  was  at  first  self- 
taught.  In  1820  he  came  to  New  York  and  studied  under  Alexander  Robertson 
and  in  1838  went  to  Rome.  Thereafter  he  was  in  Boston  for  a decade,  and  there 
in  1842  painted  Charles  Dickens.  He  died  in  Florence.  “One  of  his  hest  portraits 
is  that  of  Mrs.  Fletcher  Webster,  in  the  Boston  ^Museum  of  Fine  Arts." — Encyclo- 
'padia  Britannira. 


JOHN  JAMES  AUDUBON 

American:  1780 — 1851 

32~MISS  AUDUBON 

Height,  19^/2  inches;  width,  18%  inches 

Three-quarter-length  portrait  of  a diild — a blue-eyed  little  lady 
w'ith  rosy  cheeks  and  a mass  of  wavy  blond  liair,  seated  and  facing 
squarely  to  the  front,  with  a conventional  background  atmospheric 
and  colorful.  She  is  in  white  with  bare  shoulders  and  arms,  and  a red 
sasli  just  under  her  arnqiits  ; and  with  her  left  hand  she  supports  an 
informal  bouquet  of  garden  flowers. 

This  portrait,  witli  the  liird  canvas  by  the  same  great  artist-ornithologist,  in 
this  collection,  was  obtained  from  a New  Jersey  family  estate,  the  two  pictures 
having  been  purchased  by  members  of  the  family  directly  from  the  painter,  whose 
renown  as  the  authority  on  “Birds  of  America”  has  obscured  in  many  minds  the 
fact  that  he  was  also  an  accomplished  artist,  even  aside  from  his  wonderful  draw- 
ings of  the  birds  which  so  engrossed  his  interest. 


JOHN  JAMES  AUDUBON 

American;  1780 — 1851 


Height,  2()l/4  inches;  leidth,  21  inches 

A PAIR  of  hawks  most  carefully  and  painstakingly  studied,  both  on  the 
wing;  one  headed  downward  and  toward  the  left,  with  back  and  eye  to 
the  spectator,  the  other  below  it  and  headed  leftward  with  throat  and 
underbody  and  the  under-wings  in  view.  They  are  seen  against  a tall 
and  slender  stem  of  green  leaves,  resembling  (if  they  are  not)  the  sassa- 
fras,— the  whole  against  a blue  and  gray  sky-background,  above  a 
foreground  of  tree-tops,  a middle-distance  yellow-green  valley,  and  a 
distant  ridge  of  vague  blue  hills. 

This  canvas,  with  the  Portrait  of  Miss  Audubon  In'  the  same  artist,  was  obtained 
from  a New  Jersey  family,  members  of  which  purcliased  the  two  pictures  from  the 
artist  himself — the  great  ornithologist. 


GILBERT  STUART  NEWTON 

British  School:  1795 — 1835 

M—PORTRAIT  OF  A LADY 

Height,  20  inches;  width,  ll^  inches 

A YOUNG  lady  is  portrayed  with  back  to  the  spectator,  lier  face  turned 
toward  her  left  slioulder  and  brought  to  view  slightly  more  than  in 
profile,  in  a full  light.  She  has  large  features  and  a warm  complexion, 
and  reddish-brown  hair,  from  which  ribbons  and  a kerchief  depend  to 
a white  yoke  within  her  tiglitly  fitting  red  gown.  On  a table  on  which 
her  left  elbow  rests  is  a blue  drapery.  Dark  interior  background  with  a 
window-view  of  landscape  at  the  left. 

Gilbert  Stuart  Newton,  who  boasted  that  he  was  not  an  American  citizen, 
disclaiming  American  citizenship,  was  a nephew  of  Gilliert  Stuart ; he  was  born 
in  Halifax,  where  the  family  had  been  driven  from  Boston,  and  was  brought  back 
as  a boy  to  Charlestown.  Received  instruction  from  his  uncle,  went  to  Italy,  France 
and  England,  and  painted  many  Americans  in  London  and  Paris. 


WILLIAM  J.  BAXXIXG 

American:  1810 — 1856 
(Born  at  Lyme,  Connecticut) 

^5— SAMUEL  WALDO  (1783-1861) 

(Panel) 

Height,  221/^  inches;  width,  17  inches 

Head  and  shoulders  to  left,  three-quarters  front.  The  artist  appears 
as  a young  man,  with  eyes  fixed  on  the  observer  and  an  affable  smile. 
He  is  in  formal  black  coat  with  shawl  collar,  and  displays  a con- 
siderable expanse  of  white  shirt-front  below  his  black  stock.  Black 
hair,  bushy  and  inclined  to  be  curly ; high,  light  forehead  and  smooth- 
shaven  face  with  ros}"  color.  Dark  background. 

Samuel  Lovett  Waldo,  A.X.A.,  was  born  in  Windham,  Connecticut,  1783;  went 
to  London  in  1806,  where  he  joined  West  and  Copley  and  worked  in  the  Royal 
Academy;  returned  to  America  in  1809,  living  in  New  York  City  until  his  death 
in  1861. 


JOHN  BLAKE  WHITE 

American:  1782-1859 


36— GEN.  MARION  IN  HIS  SJFA3IP  ENCA3IP- 
3IENT,  INVITING  A BRITISH  OFFICER 
TO  DINNER 

Height,  inches;  length,  21^  inches 

In  an  open  space  along  tlie  edge  of  a dense  wood  the  two  officers  are 
seen  in  the  foreground,  Gen.  Marion  extending  to  the  Briton  an  invita- 
tion to  partake  of  a meal  ivhich  a negro  cook  is  preparing  over  a small 
fire,  beside  a low  board  table  set  up  on  crotched  branches  cut  from  a 
tree.  Behind  the  officers  a sorrel  horse  rubs  its  nose  on  the  hoards, 
and  various  men  of  the  general’s  following  are  standing  around  or 
reclining  on  the  grass.  Others  are  seen  on  the  far  side  of  a stream, 
winch  two  horsemen  are  elsewhere  fording.  The  officers  are  both  in 
buff  breeches,  with  their  scarlet  and  blue  coats  in  contrast. 

General  Francis  Marion  (1732-179.5)  was  a South  Carolinian  of  Huguenot 
descent,  famous  in  Revolutionary  times,  first  as  the  head  of  irregular  troojis  usu- 
ally numbering  twenty  to  seventy  men,  afterward  as  commander  of  the  State 
militia.  Lieut. -Col.  Banastre  Tarleton  was  sent  out  l)y  the  British  to  capture  the 
“Swamp  Fox,”  but  Marion  eluded  bim.  The  British  officer  in  the  picture  resembles 
Tarleton,  as  jiainted  by  Sir  Joshua  Reynolds.  Marion  liad  a fine  career  and  received 
the  thanks  of  Congress  for  the  rescue  of  an  xVmerican  force  from  the  British.  He 
was  also  a State  Senator.  In  August,  1780,  he  captured  one  hundred  and  fifty 
Maryland  prisoners  and  a score  of  the  British  guard,  and  later  larger  bodies  of 
Loyalists  or  British  Regulars.  Tlie  picture  may  perhaps  represent  one  of  these 
occasions. 

John  Blake  White  was  born  in  South  Carolina  in  1782.  He  was  a pupil  of 
West  in  Ixmdon.  He  was  an  author  as  well  as  an  artist,  and  was  a member  and 
a director  of  tbe  South  Carolina  Academy  of  Fine  Arts. 

Engraved  by  J.  N.  Ginibrede  for  “Godey's  Magazine,”  “by  permission 
of  the  Society  of  Art  Union.” 


COL.  HENRY  SARGENT 

American:  1770 — 1845 


^7— SABAH  ANNE  S2\  JOHN  (1794-1867) 

Height,  241/0  inches;  xcidth,  18)^  inches 

Seen  nearly  at  half-lengtli,  seated,  a young  woman  of  rosy  cheeks 
and  dark  blue  eyes  looks  out  at  the  observer  from  a gray  wool  cap, 
bell-shapcil  and  rakishly  worn,  which  conceals  her  ears  and  reA'eals 
chestnut  curls  wliicli  straggle  down  to  her  eyebrows.  She  was  twent3’- 
one  years  old  when  the  portrait  ivas  painted,  at  Hingham,  Massa- 
chusetts, in  1815.  She  looks  directh"  at  the  spectator,  with  figure 
to  right,  three-quarters  front,  and  is  wearing  a purplish-grav  out- 
door wrap  with  shawl-colar  and  high  belt,  disclosing  a plaited  white 
waist  with  flaring  white  collar.  Dark  neutral  background  of  brownish 
tone. 

Sarah  Anne  (Tilton)  St.  John,  wife  of  Charles  Cook  St.  John  of  New  Canaan, 
Connecticut,  and  Westchester,  New  York,  was  horn  at  New  Canaan  in  1794  and 
died  in  New  York  City  in  1867,  when  the  portrait  passed  to  her  granddaughter 
Sarah  Ward  St.  John,  daughter  of  Mrs.  St.  .John's  eldest  son  Augustus  E.  St.  John. 
Augustus  K.  St.  John  died  in  18.58.  Sarah  Ward  St.  John,  who  was  born  in  1849, 
married  Augustus  C.  Sarles,  and  died  childless  in  1902.  She  gave  the  portrait  to 
her  friend  Mrs.  Helen  Ueade  Hammersley  Stiekney,  from  whose  estate  it  was 
accpiired  by  the  late  owner.  A jiaster  on  the  streteher,  reading  “Sarah  .\nne  St. 
.John,  .Jany.  31st,  1815,”  is  marked  “Her  autograph:  M.  St.  John;”  also,  “This  was 
painted  at  Hingham,  Mass.,  by  Col.  Henry  Sargent;  M.  St.  John” — inferentially, 
Mrs.  Martha  I.aurina  (Ward)  St.  John  (1820-1900),  mother  of  Sarah  "Ward  St.  John. 

Col.  Henry  Sargent  of  Boston  was  a pupil  of  Gilbert  Stuart,  a member  of  the 
American  Academy  of  Fine  Arts,  and  was  an  officer  in  the  War  of  1812. 


ETHAN  ALLEN  GREENWOOD 

American:  1779 — 1856 


POET  BAIT  OF  AN  UNIDENTIFIED  MAN 

( Panel ) 

Height,  26  inches;  ■width,  191^  inches 

Bust  portrait,  nearly  elbow  length,  of  a man  beyond  middle  age,  with 
short  gray  side-whiskers  and  gra}'  wig,  facing  the  left,  three-quarters 
front.  His  high  brow  is  seamed  and  his  jowls  are  heavy.  His  some- 
what swarthy  and  lined  but  genial  face  is  in  the  light  against  a black 
background,  with  a dark  garnet  drapery  on  the  left,  and  he  looks 
contemplatively  at  the  observer.  Black  coat  with  high-rolled  collar, 
and  white  stock  and  jabot. 

Signed  at  the  tower  left.  Greenwood,  dinxt.,  C.  1815. 

This  canvas,  which  had  come  down  as  a likeness  of  “a  former  iSIayor  of  Boston,’' 
was  at  one  time  supposed  to  be  a portrait  of  John  Phillips,  first  iMayor  of  Boston. 
But  as  Mr.  Phillips,  who  died  in  office  May  29,  1823,  was  born  in  1770  and  would 
have  been  but  forty-five  years  old  at  the  date  of  the  portrait,  and  is  described  as 
having  been  alwaj’s  of  delicate  jihysique,  that  identification  was  manifestly  erroneous; 
furthermore  it  conflicts  with  the  portrait  of  Phillips  in  M'indsor's  “Memorial  History 
of  Boston”  (Vol.  Ill,  p.  223). 

Ethan  Allen  Greenwood,  born  in  Massachusetts  in  1779,  painted  portraits  as 
early  as  1803;  he  studied  with  Edward  Savage,  and  in  later  life  succeeded  Savage  as 
owner  of  the  New  England  Museum,  which  became  the  Boston  Museum.  He  died 
in  1856. 


OLIVER  FRAZER 

American:  1808 — 1864 
(Elite  Grass  School  of  Kentucky) 

PORTRAIT  OF  A LADY 

Height,  25  inches;  width,  20)4  inches 

A HANDSOME  and  mature  young  woman  of  agreeable  countenance,  with 
rosy  cheeks  and  dark  chestnut  hair;  seated  facing  tlie  obseiwer,  turned 
sliglitly  toward  the  left.  She  wears  a voluminous  white  lace  cap,  and 
pink  roses  with  sprigs  of  leaves  in  front  of  her  hidden  ears,  from 
which  gold  earrings  depend.  Dark  green  gown  cut  low  beneath  an 
ornate  white  lace  fichu  which  is  crossed  and  pinned  with  a brooch. 
Jeweled  necklace,  and  gold  watch  with  a bead-chain  encircling  her 
shoulders.  Dark  background. 

(Companion  portrait  to  Xo.  40) 

Oliver  Frazer  was  born  in  Kentucky  in  1808;  his  father  was  a native  of  Ireland, 
lie  studied  under  Jouett  in  Kentucky,  and  under  Sully  in  Philadelphia,  and  in 
1834  under  the  American  G.  P.  A.  Healy  in  Paris.  He  painted  a portrait  of  Edwin 
Forrest. 


OLIVER  FRAZER 

Ameeicax:  1808 — 186-1 
(Beue  Grass  School  of  Kentucky) 

^Q—PORTBAIT  OF  A 3IAN 

Height,  251/0  inches;  •width,  201/0  inches 

HALF-LENGTir,  facing  front  with  very  slight  turn  toAvards  left.  A 
smooth-shaA’en  man  of  affable  countenance,  grayish-blue  penetrating 
eyes,  and  bushy  light  broAvn  hair  aaIucIi  is  possibly  grayish.  In  black 
AAuth  black  stock,  Avatch  chain  encircling  his  neck,  and  plaited  and 
studded  shirt.  Dark  neutral  background. 

{Companion  portrait  to  Fo.  39) 


JAMES  FROTHIXGHAM 

American:  1781 — 1864; 

FHINIAS  CARLTON 

(Panel) 

Height,  27^  inches;  width,  21  inches 


Half-length,  not  including  hands,  to  left  with  face  three-quarters 
front.  A mature  woman  with  the  lines  of  early  comeliness  in  her 
features,  dark  brown  eyes,  and  lips  lightly  parted.  White  cap  with 
lace  frill,  and  white  neckerchief,  which  in  front  is  tucked  within  lier 
dark  red  and  loosely-fitting  waist.  Dark  olive-brown  background. 


BASS  OTIS 

Amekican  : 178-1 — 1861 


4>2—‘MRS.  NICOLSON” 


(Oval) 

Height,  27  inches;  width,  22  inches 

Best  portrait  of  a smiling  \mung  woman,  to  left,  three-quarters  front, 
in  a dark  green  gown,  against  a dark  brown  and  blackish  background. 
Slie  is  blue-cjed,  and  her  hair,  a light  cliestnut-red,  is  brushed  smoothly 
from  the  centre  down  about  her  ears,  and  wound  in  a braid  at  the 
back  of  lier  head,  a jeweled  earring  pendent  below  its  rounding  folds. 
Her  tight  bodice  is  cut  low  and  edged  witii  white  lace,  and  a black  neck- 
ribbon  is  crossed  and  ])inned  with  a jewel. 

Bass  Otis  was  Ixirn  at  Bridgewater,  iMassaduisetts,  in  1784-;  was  painting  por- 
traits in  New  York  in  1808  and  in  Philadelphia  in  1812;  he  became  President  of  the 
Pennsylvania  Academy.  He  made  the  first  lithographs  in  America — pnhlished  in 
the  Analectic  Ma(/azine  in  .Inly,  1819. 


UXKXOWX 

Early  American  School 

43— OLD  LADY  IN  A WHITE  CAP 

Height,  27  inches;  -width,  22  inches 

Half-length  seated,  facing  front  and  slightly  to  the  right.  A woman 
of  masculine  features,  with  cold,  penetrating  eyes  and  self-contained 
expression,  in  a brown  gown  which  has  more  or  less  merged  with  the 
dark  background.  She  has  dark  reddish-brown  hair  parted  at  tlie 
centre,  just  visible  under  her  white  frilled  cap  which  shows  a grayish 
bow  on  top  and  in  tlie  knot  beneath  her  chin,  and  her  forehead  and 
cheeks  are  lined.  Face  in  a strong  light  from  the  left. 


BENJAMIN  WEST,  P.R.A. 

American:  1T38 — 1820 

^—ALLEGORICAL 

(Panel) 

Height,  19^  inches;  length,  21%  inches 

A WINGED  male  figure,  nude  with  a rose  drapery,  torch  bearer  of  light 
and  inspiration,  descends  among  clouds  upon  young  women  personi- 
fying the  arts — Painting,  Sculpture,  Architecture  and  Music — on  the 
right,  while  amorini  with  scrolls  approach  in  numbers ; on  the  left, 
Science  is  represented.  Ail  told  the  figures  are  a score  and  one,  in 
warm  flesh  tints  and  draperies  of  soft  colors.  (Panel  rectilinear; 
the  painting  is  oval.) 

A companion-piece  on  cardboard  in  the  Rhode  Island  School  of  Design, 
Providence,  and  sketch  in  the  British  Museum. 


Attributed  to 

JOHN  WOOLASTON 

American:  (Circa)  1760 

^5— 31 A R THA  WA SHINGTON 

Height,  27  inches;  zcidth,  22  inches 

The  First  I.ady  of  the  Land  is  presented  at  full-lengtli,  stepping 
forward  and  toward  the  left  and  looking  toward  tlie  spectator,  her 
right  arm  brought  across  her  breast  and  catching  uji  a white  scarf 
that  falls  back  of  her  shoulders.  She  is  in  a white  silk  decollete  gowm 
with  elbow  sleeves  of  flowing  lace,  a blue  bow  at  the  corsage,  and  a 
mahogany-colored  overdress,  and  is  bare-headed,  lier  hair  banded  vdth 
brilliants.  Landscape  background  witli  a corner  pillar  of  the  Mount 
Vernon  portico,  and  trees,  on  the  right,  and  the  Potomac  in  the  dis- 
tance on  the  left. 

John  Woolaston  painted  in  Philadelphia  in  17.58  and  subsequently,  and  painted 
many  portraits  which  have  been  attributed  to  his  father,  John  Woolaston,  Sr.,  an 
Englishman  who  came  to  the  Colonies  in  1772  and  painted  in  Maryland  and  Virginia. 


JOHX  MASON  FURNESS 

Amekican:  — 1809 

m—JOHN  VINAL:  “MASTER  FINAL’’  (1736-1823) 

(Panel) 

Height,  28^A  inches;  width,  22%  inches 

Seated  in  a red-frame  chair,  over  the  back  of  which  his  left  arm  is 
thrown,  the  old  Boston  schoolmaster  is  portrayed  nearly  at  half-length, 
a quill  whicli  is  held  in  his  right  hand  entering  the  picture,  though 
the  hand  itself  is  not  included.  He  is  facing  the  spectator,  turned 
slightly  to  the  right,  and  wears  an  expression  of  rather  ostentatious 
if  not  exaggerated  dignity.  His  white  hair  falls  loosely  over  his 
forehead,  and  long  at  the  back.  An  unbuttoned  white  waistcoat  with 
red  embroidery  discloses  a white  jabot  and  stock;  his  opened  coat  is  of 
dark  green.  Blackish  background. 

John  Vinal,  long  a schoolmaster  in  Boston,  noted  for  his  penmanship  and 
mathematics;  author  of  “Vinal’s  Arithmetic”  (a  copy  in  the  Boston  Public  Library); 
married  in  1760  Ruth  Osborne  of  Charlestown,  whose  portrait  Copley  painted; 
in  1796  bought  a home  on  Beacon  street,  next  the  Copley  house. 

The  date  of  John  Furness’s  birth  has  not  been  established;  he  died  at  16  Federal 
street,  Boston,  in  1809.  In  1777  the  engraver  and  silversmith  Nathaniel  Hurd, 
whose  sister  he  had  married,  left  by  will  his  tools  to  Furness  “owing  to  the  genius 
he  discovers  for  the  business.”  An  advertisement  he  published  in  the  Columbian 
Sentinel,  of  Boston,  in  1785,  contains  not  only  a note  of  interest  of  the  time  but  a 
ring  of  today:  “John  Mason  Furness  begs  leave  to  inform  his  friends  and  the  publick 
that  he  has  taken  a commodious  chamber  . . . formerly  improved  by  Mr.  Smibert  and 
lately  by  Mr.  King,  limners,  where  he  executes  portrait  painting  in  oil  and  water 
colours  * * ♦ and  as  he  is  a native  of  Boston  he  hopes  for  the  same  encouragement 
that  is  given  to  Foreigners,  provided  his  Paintings  are  as  well  executed.” 


HENRIETTA  JOHNSON 

American:  — 1728 

4^7— LADY  JOHNSON, 

WIFE  OF  SIF  NATHANIEL  JOHNSON 

Height,  27%  inches;  u'iclth,  23%  inches 

Three-quarter  length,  seated,  to  left,  three-quarters  front.  A 
young  but  mature  woman,  rounded  and  fair,  with  (juizzical  eyes  and 
the  suggestion  of  a smile ; warm  lips  and  a hint  of  rose  in  her  cheeks, 
and  elaborate  coiffure.  She  is  in  a gown  of  soft  red,  with  tight  waist 
and  flowing  sleeves,  the  low  corsage  lace-edged  and  pinned  with 
brooches,  and  she  wears  a pearl  necklace  and  })earl  ear-pendants. 
Dark  background  with  a light  exposure  of  conventional  landscape  at 
the  left. 

{Companion  portrait  to  Xo.  48) 

Lady  Johnson  while  on  her  way  to  Europe  was  captured  by  the  French  and 
died  after  a year’s  imprisonment. 


HENRIETTA  JOHNSON 


American:  — 1T28 

^^—GOVEKNOli  SIB  NATHANIEL  JOHNSON 

(1644-1712) 

Height,  28  inches;  width,  24  inches 

Half-length  seated,  shoulders  slightly  to  right  and  head  to  left,  with 
face  three-quarters  front  and  eyes  on  the  spectator.  He  wears  a huge 
gray-brown  periwig  and  a thin  but  long  and  curling  gray  moustache, 
and  is  shown  as  in  dress  armor  with  rivets  and  joint-bands  of  the 
plates  gilded;  over  this  the  long  ends  of  his  loosely-tied  white  lace 
neck-cloth  hang  before  his  chest,  reaching  to  his  right  hand  which  is 
brought  before  his  breast,  resting  on  tbe  head  of  a sword  or  baton. 
Dark  neutral  background.  At  right  of  his  head:  “Aetatis  61;  Aprill 
7th.,  1705.”  At  upper  left,  coat-of-arms  with  motto  (in  English) 
“Lo^'alty ; not  Interest.” 

(Companion  portrait  to  Xo.  47) 

Illustratetl  in  Cliarles  Knowles  Bolton's  “Portraits  of  the  Founders”;  also  in 
Alice  Morse  Earle’s  “Two  Centuries  of  Costume  in  America.” 

Nathaniel  Johnson  was  born  in  England  in  1644,  entered  the  army  and  then 
Parliament;  was  knighted  in  1680;  in  1683  had  a warrant  for  560  acres  in  Carolina; 
1686,  was  Governor  of  the  Leeward  Islands;  1702,  Governor  of  South  Carolina. 
Died  1712. 

Henrietta  Johnson  has  previously  been  found  as  a pastellist  as  early  as  1703, 
in  Charleston,  S.  C. ; according  to  Hart  she  “considerately  signed  and  dated  her 
]>ortraits,  as  also  had  lier  tombstone  record  her  death  on  March  9,  1728.” 


ANSON  DICKINSON 

Amekican  : 1780 — 1847 

PORTRAIT  OF  A LADY 

Height,  28%.  inches;  u'idth,  24  inches 

Half-length,  seated,  to  left,  three-quarters  front.  A woman  of  ma- 
ture life  but  with  a young  face  and  fair  complexion,  her  sandy-brown 
hair  enclosed  by  a sheer  white  lace  mob  cap;  a transparent  fichu  about 
her  neck  is  tucked  into  her  low-cut  and  loose-fitting  mahogany-brown 
or  reddish  waist,  and  a light  brown  shawl  falls  lightly  about  ber  elbows; 
from  beneath  it  the  right  hand  comes  to  view.  She  sits  in  a green 
wooden  chair  which  is  striped  with  gold,  before  a neutral  dark  brownish 
background. 

“Tills  painter  is  better  known  for  miniatures  than  for  his  portraits  in  oil,  and 
this  example  shows  the  manner  of  a jiainter  in  little.  It  is  a jileasant  portrait,  with 
animation  and  character,  and  has  the  suffused  pink  hue  that  was  notable  in  all  of 
Dickinson’s  works,  whether  on  ivory  or  canvas.” — Ciiari.es  Hexrv  Hart,  in  catalogue 
of  the  Thaw  Collection. 

From  the  collection  of  Mrs.  Benjamin  TIuik',  XclC  Yoi'k,  1916. 


MATTHEW  HARRIS  JOUETT 

American:  1788 — 1827 


50— FRANCES  BERRYMAN  3IcKINNEY 

{MRS.  JAMES  G.  McKINNEY) 

Height,  27^/4  inches;  width,  22  inches 

Haef-lengtii,  to  tlie  front,  face  turned  a little  to  the  sitter’s  right 
and  her  eyes  directed  toward  her  left,  with  a somewhat  quizzical  glance. 
She  is  young,  of  creamy  complexion,  with  rosy  cheeks,  dark  hair  worn 
in  wide-spreading  puffs,  and  is  clad  in  a dark  grayish-plum  dress  with 
small  waist  and  blue-gray  belt,  and  voluminous  sleeves.  A two-fold  and 
plaited  lace  collar  at  her  neck  overlies  a broader  one  tucked  and  pointed, 
which  overspreads  her  breast  and  shoulders.  Light  olive-gra}’  back- 
ground. 

Mrs.  James  G.  McKinney,  wife  of  Major  Janies  G.  McKinney. 

A portrait  of  Janies  G.  McKinney,  by  Jouett,  is  in  the  collection  of  Mr.  Herbert 
L.  Pratt,  of  New  York  and  Glen  Cove,  Long  Island,  and  listed  in  the  private  cata- 
logue of  that  collection  by  Charles  Henry  Hart,  who  in  a note  on  Jouett  therein  says 
of  him:  “He  did  not  have  to  learn  how  to  paint — he  knew  how.”  And  Hart  likens 
Jouett  to  Athena,  “who  came  forth  fully  armored  from  the  brain  of  Jove.”  Jouett 
was  a Kentuckian,  an  early  master  of  the  trans-Appalachian  region. 

For  two  other  portraits  by  Jouett,  see  Nos.  51  and  56. 

From  Williaon  Macbeth,  who  purchased  the  portrait  from  Mrs.  M.  H. 
Berryman,  of  Louisville,  Kentucky. 


MATTHEW  HARRIS  JOUETT 

American:  1788 — 1827 

51— JOHN  G.  3IcKINNEY,  JR. 

Height,  29%  inches;  zenith,  21%  inches 

Three-qvakter-eength  standing  figure  of  a youth  with  gray-hlue 
eyes  and  dark  curly  liair,  to  left,  tliree-quarters  fi’ont,  liis  right  liand 
resting  on  the  head  of  a hrown  hound  with  gray  muzzle  which  looks  up 
at  its  small  master.  The  lad  looks  (juietly  but  fixedly  toward  the  specta- 
tor. He  is  in  a dark  greenish-hlue  jacket  ivith  gilt  buttons,  trousers  to 
match,  and  a cream-colored  dress-waistcoat,  and  wears  a broad  white 
shoulder-collar  and  loosely  tied  black  cravat.  Conventional  back- 
ground. 

A different  liandling  from  that  of  the  jjortrait  of  Mrs.  James  G.  McKinney  hy 
tlie  same  artist  (No.  .50).  A third  portrait  by  Jouett  appears  in  the  collection.  No.  56. 


FRANCIS  ALEXANDER 

1800—1881 

52— PORTRAIT  OF  A LADY 

Height,  inches;  zcidth,  23^4  inches 

A PRIM  young  woman  of  somewhat  sharp  features,  and  pink  and  wliite 
complexion,  witli  blue  eyes,  is  portrayed  at  three-quarter  length,  to 
right,  three-quarters  front.  Her  bromi  hair  in  formal  dress  is  seen 
below  her  white  lace  caj)  which  has  a ruffled  edging.  She  is  in  gray, 
with  a broad  white  lace  collar  wliich  overspreads  a scarlet  cape  or 
shawl,  and  she  wears  white  gloves  and  is  seen  against  a neutral  grayish 
background. 


Exhibited  at  the  Worcester  Art  Museum. 


WILLIAM  DUNLAP,  N.A. 

American:  1766 — 1839 

5^— CAPTAIN  WATSON 

Height,  30  inches;  width,  21  inches 

A youngish  man  rotund  of  face  and  figure,  with  smooth  and  smiling 
rosy  face  and  twinkling  eye,  and  abundant  loose  and  curly  hair  parted 
at  the  centre,  is  observed  at  half-length,  facing  the  observer.  He  is 
seated,  in  a wooden  side-chair,  with  left  arm  thrown  over  the  chair-back. 
Black  coat  and  creamy  w'aistcoat,  revealing  a soft  white  shirt  and  a 
broad  blue  scarf  with  a gold  chain-pin.  Warm  brown  background, 
with  a drawn  crimson  drapery  disclosing  a glimpse  of  shipping — either 
th  rough  a window'  or  in  a painting. 

Perhaps  Captain  Thomas  Watson,  of  the  “Betsy,”  in  which  Dunlap  went  to 
England  in  1784? 


HENRY  RENBRIDGE 


Am5;rican:  1744 — 1812 

PORTRAIT  OF  A MAN 

Height,  30  inches;  width,  25  inches 

Hai>f-i.ength,  including  the  riglit  hand  tucked  into  the  loosened  waist- 
coat ; facing  left  but  turned  well  to  the  front.  A youngish  man  of 
florid  complexion,  with  blue  eyes  and  dark  eyebrows,  smooth  face,  and 
dark  brown  hair  and  peruke.  Klaborate  apparel,  both  coat  and  waist- 
coat of  dark  bluish-green  adorned  with  gold  braid,  bars  and  buttons ; 
white  collar  turned  down  over  a white  stock,  and  white  jabot.  Neutral 
ba  ckg  round  of  warm  brown. 

l?enl)riclge,  though  comparatively  little  known  today,  in  what  was  truly  a galaxy 
of  early  American  painters  was  so  clever  a limner  that  his  works  have  often  and 
long  masqueraded  as  Copley’s.  And  through  no  great  stretch  of  the  imagination  he 
links  u]i  Stuart  England  with  independent  America;  for  Dr.  Johnson  was  ‘‘touched 
for  the  king's  evil”  by  Queen  Anne,  last  of  the  Stuart  sovereigns,  Boswell  the  doc- 
tor's biographer  praises  highly  a work  of  Benbridge's  executed  in  Europe,  and 
Benbridge  died  in  1812 — a date  insejiarably  uniting  the  histories  of  England  and 
the  United  States.  Benbridge  was  born  in  Philadelphia  in  174J;  his  father  died 
when  the  boy  was  seven  years  old,  and  his  mother  married  Tliomas  Gordon,  a man  of 
wealth;  the  boy  went  early  to  Italy,  and  in  17C8  was  sent  to  Corsica  on  the  order  of 
James  Boswell  of  Auchinleck  to  paint  General  Paoli;  his  portrait  was  exhibited 
in  England  in  17G9,  and  mezzotints  of  it  were  jiublished  in  which  the  artist's  name 
is  ]irinted  “Bembridge.”  He  also  })ainted  Franklin,  and  on  his  return  to  Philadelphia 
was  elected  a member  of  the  American  Philosophical  Society,  at  the  time  a distinct 
national  honor. 


BASS  OTIS 

American:  ITSi — 1861 

55— JAMES  MADISON  (1751-1836), 

Fourth  President  of  the  United  States  (1809-1817) 

Height,  29  inches;  width,  23  inches 

Short  half-length,  to  right,  three-quarters  front;  seated  in  a red- 
backed  chair  before  a dark  red  portiere,  in  a library.  The  President  is 
presented  as  a man  of  composure,  and  of  dignity  which  sits  lightly 
upon  him,  looking  at  the  observer.  He  is  in  a black  coat,  with  white 
neck-cloth  and  jabot,  and  a gray  wig. 

That  the  canvas  was  at  one  time  erroneously  attributed  to  Stuart — for  no  mani- 
fest reason — seems  to  be  indicated  liy  a paster  on  the  frame,  which  reads:  “President 
Madison,  by  Gilbert  Stuart;  from  the  estate  of  Gen’l  Sinclair  of  Phila.” 


MATTHEW  HARRIS  JOUETT 

American:  1788—1827 

56— DOCTOR  WILLIAM  S.  WALLER 

OF  KENTUCKY 

Height,  28%  inches;  zcidth,  21%  inches 

Half-length,  witliout  the  liands,  seated,  to  right,  three-quarters 
front;  an  intellectual  looking  man  in  the  prime  of  life,  Avith  blue  eyes 
and  fresh  comjilexion,  and  bush_v  reddish-brown  hair  and  side-whiskers. 
He  wears  a blue-black  coat  with  flat  brass  buttons,  white  stock  and 
jabot  and  choker-wing  collar,  and  he  sits  in  a reddish  leather-covered 
chair  before  a background  of  deep  olive. 

For  other  portraits  hy  Jonett,  see  Nos.  .50  and  51. 


EZRA  AMES 

American:  1768 — 1836 

57— N.  ALLEN,  ESQ. 

Height,  30  inches;  width,  24*  inches 

Portrait  of  a sniootli-shaven  stout  man  with  short  cui'Ia'  side  whiskers 
of  sandy  line  and  dark  sandy  hair,  seated  in  a carved  and  red-uphols- 
tered armchair,  facing  front  and  toward  the  right.  He  is  in  a dark 
brownish  coat  and  light  cream-colored  waistcoat,  with  loose  white  stock 
and  jabot.  Light  olive-gray  and  warm  dark  brown  background. 

Ezra  Ames  was  born  in  Albany,  New  York,  and  came  to  distinction  in  1812  by 
exhibiting  at  tbe  Pennsylvania  Academy  a portrait  of  Governor  Clinton  of  New’ 
York.  He  painted  many  members  of  the  New  York  State  Legislature,  and  these 
portraits  are  widely  scattered  in  this  state. 


MATHER  BROWN 

American:  1761 — 1831 

5^— PORTRAIT  OF  A MAN 

Height,  30  inches;  width,  25  inches 

A FUEL-CHESTED  mail  witli  a single  button  of  his  gray-black  and  high- 
collared  coat  buttoned  below  his  chest,  his  bluish-gray  waistcoat  un- 
buttoned to  display  a wdiite  fluted  jabot,  above  which  a white  stock  is 
tied,  is  depicted  at  half-length,  seated.  He  faces  right  and  the  front, 
with  gray-blue  eyes  upon  the  observer,  and  his  dark  and  bushy  hair  is 
in  orderly  disarray,  above  tufts  of  curly  and  brownish  side-whiskers. 
Olive-gray  background  with  a looped  portiere  of  crimson  brocade. 

Signed  at  right,  helow  centre,  M.  Brown. 


UXKXOWX 

59— 31 A DAME  AIUEL  FITCH,  WIFE  OF 

HON.  THOMAS  FITCH  OF  BOSTON 

(Oval) 

Vertical  diameter,  inches;  horizontal,  26  inches 

H ALF-LENGTii,  Seated,  facing  tlie  front,  bust  slightly  to  right,  head  to 
left  with  the  eyes  directed  markedly  to  the  right.  A middle-aged 
woman  with  blond  hair  worn  high,  in  a dark  green  velvet  bodice, 
decollete,  corsage  and  elbow  sleeves  frilled  in  white;  over  her  shoulders 
a mantle  of  golden-brown.  Dark  brown  background. 

Thomas  Fitcli  was  the  son  of  .John,  who  was  a steamboat  inventor,  clock-maker 
and  engraver,  born  in  Connecticut  in  1743  and  died  in  Kentucky  in  179S. 


UXKXOWN 

60~JOHN  FITCH, 

SON  OF  HON.  THOMAS  FITCH  OF  BOSTON 

Height,  29%  inches;  ividth,  25%  inches 

Three-quarter  length,  standing;  figui’e  to  right,  face  almost  full  to 
the  front.  A handsome  youth,  of  gracious  dignity  of  expression  and  of 
poise,  wdth  red-brown  hair  worn  long  and  full — with  the  volume  of  a 
wig — to  his  shoulders,  a white  neck-cloth  twisted  into  a jabot  effect, 
and  a green  velvet  coat  with  brown  revers  and  garnet  clasps ; full  white 
cuffs.  Right  arm  akimbo  with  hand  at  hip  holding  a brown  cloak  which 
is  looped  over  his  left  forearm,  the  left  hand  resting  on  the  head  of  a 
brown  and  white  dog  which  looks  up  at  its  master.  Dark  neutral 
background. 

On  hack  of  canvas:  “Mr.  John  Fitch,  eldest  son  of  Hon. 
Col.  Thomas  Fitch  of  Boston.” 


ELIAB  METCALF 

American:  1785 — 1834 

Ql—POBTBAIT  OF  A GENTLEMAN 

Height,  30  inches;  tcidth,  24  inches 

A GENTLEMAN  of  joutliful  midcllc-age  is  portra^^ed  seated,  half-length 
including  the  right  hand,  which  holds  a letter.  He  is  facing  the  spec- 
tator, and  looks  up  from  reading  the  letter.  He  is  in  an  inlaid  chair, 
and  at  his  left  is  a writing  table  on  which  are  paper,  ink  and  a quill  pen. 
He  wears  a black  coat,  and  white  waistcoat,  stock  and  jabot.  The 
letter  he  has  received  is  dated  X ew  York,  January  1,  1816,  and  is 
addressed  to  Mr.  E.  IMetcalf.  Olive-brown  wall  background  with  crim- 
son curtain  drawn  back  at  the  right. 

Elial)  iNIetcalf,  son  of  James,  was  horn  in  Massachusetts  in  1TS5;  his  family 
occupied  the  same  farm  they  had  had  from  the  time  of  the  Pilgrims’  landing  at 
Plymouth.  His  mother  was  a relative  of  Chester  Harding’s.  He  painted  first 
miniatures  in  the  Eastern  States  and  Canada,  afterward  portraits  in  New  York, 
New  Orleans  and  the  West  Indies.  He  died  in  1834. 


SAMUEI.  FIXLEY  BREEZE  MORSE,  P.X.A. 

Amekicax:  1791 — 1872 

()2—  FBEDEl{ICK  VOX  SLADE” 

Height,  29-;4  inches:  zcidth,  25^  inches 

Half-length,  seated,  front  with  a sliglit  inclination  to  left;  a man  of 
many  years,  with  hair  white  and  eyebrows  whitening;  warm  complexion 
and  affable  blue  eyes ; smooth-shaven,  with  high  collar  and  white  stock. 
Black  coat  and  waistcoat,  tlic  standing  collar  of  the  waistcoat  lined 
with  scarlet,  and  a note  of  the  red  upholstery  of  the  subject's  chair 
coming  to  view  within  his  elbow.  Dark  background. 

Tlie  name  of  tlie  sitter  has  also  been  jjiven  as  “Steele.”  Canvas  authenticated  as 
a work  by  Morse,  by  Charles  Henry  Hart. 


JOHN  GREENWOOD 

American:  1727 — 1T92 


WILLIAM  LYNDE,  ESQ.  (1710—) 

Height,  30  inches;  width,  25  inches 

Hal  K-LENGTH,  standing,  to  right,  three-quarters  front;  a portrait  of 
a portrait,  the  subject  ap})earing  within  an  oval  frame  painted  on  the 
rectilinear  canvas.  A man  in  middle  life,  with  gray  hair  and  curled 
wig,  in  blue  coat  and  yellowish-olive  surcoat  with  white  revers,  pleated 
shirt  and  long  white  ncck-clotli.  Olive  and  brown  background. 

John  Greenwood  was  horn  in  Boston  in  1727,  the  son  of  Samuel;  in  1742  he 
was  ajiprenticed  to  Thomas  Johnston,  a Boston  engraver.  His  American  portraits 
were  all  painted  before  1752,  as  he  went  then  to  Surinam  where  he  spent  the  next 
ten  years;  afterward  to  Paris,  and  to  England  where  he  settled  as  a mezzotint 
engraver  and  died. 


CHARLES  BRIDGES 

American:  Circa  1710 

PORTRAIT  OF  A LADY 

Height,  18  inches;  width,  38  inches 

Three-ouarter  length,  in  full  face.  In  a low-cut  dark  blue  dress  with 
short  sleeves.  The  left  arm  resting  on  a pedestal. 

Charles  Bridges  is  recorded  as  jiainting  portraits  in  Virginia  between  1735  and 
1750.  One  later  critic  has  said  that  Bridges  was  painting  good  jiortraits  in  Vir- 
ginia in  1735.  Most  of  his  portraits  of  women  dis])layed  a curl  brought  forward 
over  one  shoulder. 


UNIDENTIFIED 

Early  American  School 


Q5— PORTRAIT  OF  A 31  AN 

(Panel) 

Height,  28%  inches;  width,  24%  inches 

Three-quarter  length,  seated,  to  left  three-quarters  front.  A man  in 
the  prime  of  life,  full  of  vigor,  robust ; broini  eyes  and  florid  face,  with 
a high  light  on  his  brow ; smooth-shaven,  but  with  curling  side-whiskers 
extending  from  his  dark  brown  and  carelessly  brushed  locks.  Black 
double-breasted  coat  with  large  gilt  buttons,  and  white  waistcoat  and 
stock.  A bit  of  the  red  upholstery  of  his  chair  comes  to  view  beneath 
his  elbow.  Neutral  brownish  background. 


Attributed  to 

HOGARTH 

06— A CONVEliSATION  PIECE 

Height,  30  inches;  K'idth,  25  inches 

Two  small  full-length  figures,  standing.  On  the  left  is  a man  wearing 
a court  dress  of  blue  and  gray-brown,  and  silk  stockings.  On  the 
riglit,  a lady  in  white  dress,  a dog  nearby'.  Brown  curtain  background. 


JOHN  RUSSELL,  R.A. 

English:  IT-i-i — 1806 

Q7—FOETEAIT  OF  A GIEL  WITH  A EOSE 

Height,  27Li  inches;  width,  21L_)  inches 


Small  fuil-Ieiigth  figure.  In  a wliite  dress  with  blue  sash  and  red 
shoes.  SJie  is  seated  on  a bank  under  a tree ; and  liolds  up  a rose  in  her 
riglit  iiaiid  and  a lily  of  the  valley  in  her  left.  Flowers  in  a basket  at 
her  side. 


ETHAX  ALLEN  GREENWOOD 

American:  1779 — 1856 

PORTRAIT  OF  A MAN 

Height,  26  inches;  ii'idth,  20  inches 

Half-length,  seated,  to  left,  with  face  well  to  the  front.  A 3'oung 
man  with  sandy-brown  hair,  bushy,  and  brushed  well  up  above  the  fore- 
head, and  keen  eyes  that  sujjport  the  incipient  smile  of  his  lips.  High 
wing  collar  with  white  stock  and  jabot  and  white  waistcoat,  and  black 
coat  with  its  collar  rolled  high.  Neutral  olive-brown  background. 

Signed  at  the  Jou'er  left.  Greenwood,  1812. 


ENGLISH  SCHOOL 

Eighteenth  Century 

m— PORTRAIT  OF  AN  ECCLESIASTIC 

Height,  31  inches;  width,  26  inches 


Bust  length;  in  full  face,  wearing  a black  gown,  with  a pectoral  cross 
falling  from  a ribbon  round  his  neck,  bands  and  a wig.  Curtain  back- 
ground. The  upper  corners  feigned  as  rounded. 


ENGLISH  SCHOOL 

Eighteenth  Century 


70— A CHILD  WITH  A SQUIRREL 

Height,  30  inches;  width,  24  inches 

In  a green  dress,  red  skirt  and  sash.  She  holds  a squirrel  on  her  left 
wrist. 


ALVAN  FISHER 

American:  1792 — 1863 

71— RIVER  LANDSCAPE  WITH  HORSEMAN 

Height,  23  inches;  length,  30  inches 

The  composition  suggests  a reach  of  the  upper  Hudson  with  the  hazy 
Catskills  in  the  distant  background,  under  a light  sky  with  tenuous 
creamy  clouds.  Green  wooded  shores  descend  at  the  left  and  in  the 
foreground,  and  near  by  on  the  right,  the  middle  distance  being  occu- 
pied by  the  stream,  on  which  are  sail  and  a raft.  In  a smooth  road  in 
the  foreground  an  equestrian  at  a slow  trot,  his  dog  running  ahead  of 
him. 

Signed  at  the  lower  left,  A.  Fisher,  1823. 

Alvan  Fisher  was  born  at  Needham,  Mass.;  he  was  a clerk  and  the  village  house- 
painter,  but  at  23  was  painting  portraits.  Ten  years  later  he  went  to  Europe,  and 
on  his  return  was  recognized  as  an  artist.  He  had  a talent  for  landscape  as  well 
as  for  portraiture.  In  1831,  with  Harding,  Alexander  and  Doughty,  he  held  “per- 
haps the  first  joint  display  by  painters  ever  held  in  Boston.” 


JOSEPH  KYI.E,  A.X.A. 

Amehicax:  1815 — 18G3 


12-^P(mTl{AlT  GEOUF 

Height,  3(51/4  inches;  width,  28  inches 

A FAMILY  group  of  five  figures,  in  an  interior  of  shadowy  depths,  tlie 
figures  in  a soft  liglit  coining  from  the  left  and  in  mellow  colors.  A 
man  with  a high  and  broad  forehead,  in  a great-coat  with  deep  collar, 
stands  beside  a table  from  which  he  is  about  to  take  Ids  beaver  hat,  a 
little  girl  clinging  to  him  to  delay  his  departure ; he  facing  tlie  left,  she 
the  right.  Before  them  a young  woman  in  a golden-buft  gown  and 
grayish  fichu  is  seated,  to  right,  three-cpiarters  front,  with  face  in 
jirofile,  looking  at  the  man.  An  infant  girl  stands  at  her  knee,  and 
another  small  girl,  half-kneeling,  near  by,  liolds  up  a nosegay  from  a 
basket  of  flowers. 

On  stretcher  a paster,  “Original  painting  by  Joseph  Kyle, 
1837.” 

.Josejili  Kyle  was  horn  in  Oliio  and  in  his  childhood  lived  in  Ohio  and  Kentucky. 
At  twenty  he  entered  Sully's  studio  in  Philadelphia  and  later  studied  with  Bass 
Otis.  He  painted  both  in  Philadelphia  and  New  York,  both  portraits  and  historical 
compositions,  and  is  represented  in  the  ^Metropolitan  Museum  of  .Vrt  by  a “Portrait 
of  a Lady” — 18(11. 

Exhibited  at  the  Pattania-Pacific  Exhibition.  San  Erancisco,  1915. 


HENRY  WILLIAMS 

American:  1787 — 1830 

7S— PORTRAIT  OF  AN  OLD  LADY 

Height,  361/4  inches;  -width,  29^  inches 

Three-quarter  lengtli,  to  left,  tliree-quarters  front.  An  old  lady  of 
deeply  lined  face,  with  keen  brown  eyes  looking  at  the  observer,  sits 
bolt  upright  in  a heavily  cushioned  armchair  of  deep  crimson.  She  has 
looked  u]!  from  an  opened  book  on  a green-covered  table  before  her,  her 
right  hand  turning  a leaf,  and  she  holds  her  spectacles  in  her  left  hand. 
She  is  in  a black  velvet  gown  of  loose  folds,  and  wears  a white  frilled 
cap,  a white  neckerchief,  and  a bluish  shawl  about  her  shoulders,  the 
shawl  embroidered  in  black.  Dark  olive  background. 

Henry  'Williams  was  an  artist  of  iMassachusetts,  where  his  portraits  are  mainly 
found,  and  in  the  works  of  his  later  years  showed  that  he  had  been  influenced  by 
Stuart. 

From  the  collection  of  Mrs.  Benjamin  Thaw,  Xew  York,  1916. 


SIR  PETER  LELY 

English:  1618—1680 

14^—POBTliAlT  OF  A YOUNG  LADY 

Height,  32  inches;  width,  25  inches 

Thkee-qitahter  length;  tliree-quartcrs  to  the  riglit.  In  a dark  green, 
low-cut  dress,  with  full  sleeves  lined  with  white,  a small  black  bow  at  the 
breast.  Her  hands  before  her,  one  pressing  against  the  palm  of  the 
other.  Her  hair  falls  in  ringlets  on  to  her  forehead  and  on  her 
shoulders.  Pearl  necklace. 

In  the  C.  Bertrand  collection,  Paris. 

Purchased  from  Messrs.  Scott  and  Foides,  Xew  York. 


JAMES  AORTHCOTE,  R.A. 

English:  174<6 — 1831 


75—FOllTllAIT  OF  THE  ARTIST 

Height,  31  inches;  width,  251^  inches 

Half-length,  in  profile  to  the  left.  In  black  coat  and  white  cravat, 
he  is  seated  in  a hig-h-backcd  chair  before  an  easel.  A brush  in  his  right 
hand,  his  palette  and  other  brushes  in  his  left. 

O’Donoghue,  “Engraved  British  Portraits  in  British  iSIuseum,”  Vol.  Ill,  p.  348, 
mentions  a large  number  of  engravings  after  portraits  of  Xorthcote  by  Dance. 
Harlow,  Hoare,  Lonsdale,  Opie,  Wivell  and  Xorthcote. 


BENJAMIN  WEST,  P.R.A. 

American:  1738 — 1820 

IQ— THE  HOLY  SFIIUT  DESCENDING 

UPON  C HEIST  A FT  EE  HIS  BAPTISM 

Height,  36^2  inches;  ri'idth,  28  inches 

The  Clirist  appears  at  full  length,  walking  toward  the  right.  His  face 
in  profile,  the  Holy  Spirit  in  form  of  a haloed  dove  descending  from 
the  clouds  over  his  head.  To  left  and  right  on  the  ground  about  him 
adoring  figures  male  and  female,  old  and  young,  to  the  number  of  above 
a dozen,  variously  clad  and  partly  nude.  In  the  background,  beyond 
the  river,  nude  figures  on  the  farther  bank,  and  distant  green  hills.  A 
mellow  golden  tone  over  all. 


THOMAS  BIRCH,  N.A. 

(Honorary  Member,  elected  1833) 

American:  1779 — 1851 

77— THE  SHIPWRECK 

Height,  22  inches;  length,  30  inches 

Off  a rocky  coast  whicli  appears  under  gray  clouds  of  a passing  storm 
on  the  right,  and  in  a heaving  sea  which  breaks  over  outstanding  rocks 
in  the  foreground,  a sliip  is  seen  a-wreck,  mizzenmast  gone  and  fore  top 
snapped  off,  canvas  ripped  and  spray  bursting  over  her  decks.  Her 
crew  escaping  in  their  boat  are  seen  in  the  heavy  wash  between  the  hulk 
and  the  shore,  and  to  left  the  sky  is  clearing. 

Thomas  Birch,  eminent  marine  painter,  born  Warwickshire,  England,  1779;  came 
to  Philadelphia,  1794,  with  his  father,  William,  a distinguished  enameller.  Became 
infatuated  with  the  sea  by  a trip  down  to  the  Capes  of  the  Delaware,  in  1S07,  and 
devoted  himself  to  marine  painting. 


GEORGE  D.  HART 

American  ; Contemporary 

78—  OLD  IRONSIDES  ’ 

Height,  29  inches;  length,  40  inches 

A REPRESENTATION  of  the  United  States  frigate  “Constitution,”  ob- 
served broadside-on  headed  toward  the  right  under  full  sail,  over  a 
green  and  white-capped  sea  beneath  a sky  massed  with  white  and  creamy 
rolling  clouds.  At  right  and  left,  other  sail,  and  at  left  a headland 
with  light  and  fortifications. 


Signed  at  the  lower  left.  Geo.  D.  Hart,  1901. 


JOSEPH  BADGER 

American:  1707 — 


79— CAPTAIN  JOHN  LARKABEE, 

LIEUTENANT  OF  C ASTLE  WILLIAM 

Height,  821/4  inches;  rcidth,  511^  inches 

Full-length  standing  figure,  facing  front  and  slightly  toward  the 
right ; white  wig  and  stock,  grayish  plum-colored  outer  coat,  rose- 
lined,  and  black  under  coat ; plum-colored  breeches  and  white  stockings. 
Sword  at  his  side,  he  stands  before  a cannon  on  which  rests  the 
liead  of  his  long,  red-covered  spyglass,  which  he  holds  upright,  sup- 
ported by  his  left  hand  while  his  right  hand  rests  arm  akimbo  at  his 
hip.  He  is  smooth-shaven  and  of  warm  complexion,  with  eyes  kindly 
but  keen,  and  expressive  of  conscious  determination  rather  than  of 
natural  firmness.  In  the  background  to  right  are  ancient  men-o’-war 
in  the  bay  and  a pinnace  under  way  near  at  hand,  and  at  the  left  are 
trees,  shrubbery  and  grasses. 

Exhibited  at  the  BrookljTi  Institute  of  Arts  and  Sciences,  1917,  where  the  cata- 
logue stated:  “The  New  England  Register  has  a reference  to  the  marriage  of  Sarah 
Larrabee,  daughter  of  Captain  John  Larrabee,  stationed  in  Castle  William,  Boston 
Harbor,  1738.” 

“While  Gilbert  Stuart’s  work  is  sui  generis,  there  were  other  painters  here  who 
painted  principally  portraits,  worthy  of  serious  consideration;  and  the  wide  interest 
awakened  in  the  history  of  art  in  the  colonies  has  brought  to  light  many  names 
heretofore  unknown,  whose  work  has  been  wrongly  attributed  to  other  painters  who 
happened  to  be  known.  Thus,  within  a couple  of  years,  have  been  discovered  two 
accomplished  limners,  Nathaniel  Emmons  and  Joseph  Badger,  both  born  in  New 
England,  in  1704  and  1707  respectively.”- — Charies  Henry  Hart  in  “Works  of  Ameri- 
can Artists  in  Collection  of  Herbert  L.  Pratt”  (privately  printed),  1917. 


SECOND  AND  LAST  EVENING’S  SALE 


FRIDAY,  APRIL  23,  1920 

IN  THE  GRAND  BALLROOM  OF 
THE  PLAZA 


BEGINNING  AT  8.15  O^CLOCK 


.••■■Si  ..  '■  ■-  r!  ' 


V.-  - ■ ' ' . ’ 


SIR  DAVID  WILKIE,  R.A. 

English:  1785 — 1811 

• m— CAMPING  GYPSIES 

(Panel) 

Height,  10  inches;  width,  TV  inches 

Two  small  full-length  figures  of  women,  one  of  whom  nurses  a child  on 
her  lap ; another  child  on  the  ground  to  the  right. 

U7ifinished.  Signed,  and  dated  1811. 

It  is  thus  one  of  his  very  latest  jiictures,  as  the  artist  died  on  June  1st  of  that 
year. 


GEORGE  MORLAND 

English:  1763 — 1801 

* ^\—RUliAL  GOSSIPS 

Height,  21  inches;  length,  26^/2  inches 

Two  women,  accompanied  by  a child  and  a dog,  stop  to  talk  on  the  road 
in  front  of  a cottage  in  ruin;  the  liigh  bank  on  the  left  is  topped  with 
trees.  In  the  riglit  foreground  three  horses  are  near  a rail.  Wide  view 
with  cottages  in  the  right  distance. 

Signed,  and  dated  on  a stone  on  the  left,  G.  Morland,  1798. 


THOMAS  WEBSTER,  R.A. 

English:  1800 — 1886 


S2—DOTHEnOYS  HALL  CSQUEERS’  SCHOOL’’) 

( Panel) 

Height,  6^/2  inches;  length,  13  inches 

A COMPOSITON  of  some  thirty  small  figures,  mostly  schoolboy's.  Mrs. 
Squeers  stands  by  the  desk  on  the  right ; further  back  is  an  open  door. 

“This  admirable  specimen  of  Webster,  a perfect  gem,  representing  iNIrs.  Squeers 
administering  the  brimstone  and  treacle  to  her  shuddering  victims,  while  Master 
Wackford  struggles  with  the  new  boy’s  boots,  pulling  poor  Smike’s  hair  meanwhile, 
and  while  the  meek  little  owner  of  the  aforesaid  boots  looks  on  aghast,  enlists  one’s 
sympathy  and  laughter  on  the  instant.” — P.  181. 

Painted  expressly  for  Charles  Dickens,  the  novelist,  whose  autograph 
is  on  the  hack  of  the  panel.  Sold  by  order  of  his  Executors  at 
Christie's  in  1870. 

Exhibited  at  the  Royal  Academy,  1906,  Ao.  -13,  hy  Sir  Bruce  Seton,  as 
“Squeers’  School." 

Bedford:  “Art  Sales,"  1888,  p.  181. 

Purchased  from  A.  Ackermann,  Xew  York. 


JOHX  CROME  (OLD  CROME) 

Exgi.tsh  : 17G8 — 1821 

m-^YAimOVTH  BEACH 

Height,  121/4  inches;  length,  18i'o  inches 

Fishekfolk  with  baskets  and  two  liorses  are  seen  at  low  tide,  a man 
with  a telescope  looking  out  to  sea.  Buildings  on  the  shore  on  the  right. 
Sailing  vessels  in  tlie  left  distance. 

W.  F.  Dk'kes,  “Norwich  School,”  190-5,  p.  129,  describes  the  “Yarmouth  Beach,” 
“looking  towards  the  old  Jetty,”  that  was  in  the  Humphrey  Roberts  Collection. 

In  the  collection  of  Majon  Oszcald  Collinson. 

Purchased  from  Arthur  Tooth  & Sons,  London. 


JOHN  CONSTABLE,  R.A. 

English:  1776 — 1837 

84— A LANDSCAPE-.  SUN  AND  SHOWER 

A SKETCH  of  about  1825.  Calm  water  in  the  foreground  with  farm 
buildings  on  the  right.  Other  buildings  in  the  distance,  and  trees  on 
the  left.  The  sky  cloudy  after  the  thunderstorm. 

In  the  collection  of  Miss  Isabel  and  in  that  of  Miss  Elizabeth  Constable, 
and  so  described  on  the  back. 


In  the  Ashniead  Bartlet  Sale  at  Christie' s. 


THOMAS  GAIXSEOROUGH,  R.A. 

English:  1727 — 1788 

85— A LANDSCAPE 

Height,  24  inches;  length,  29  inches 

A MAX,  with  his  dog,  stands  on  the  road  near  a high  bank  to  the  riglit : 
two  cows  arc  on  tlie  left  near  a large  withered  tree.  A windmill  in 
the  distance. 

Bought  from  Arthur  Tooth  k Sons,  London. 


JOHN  CROME  (OLD  CROME) 

English:  1768—1821 


86— THE  MILL 

Height,  29  inches;  width,  25  inches 

A MAN,  in  a red  coat,  is  standing  in  a punt  before  a high-gabled  house, 
tJie  shadows  of  which  are  reflected  in  the  sluggish  water.  Trees  in  the 
distance. 


Bought  from  Arthur  Tooth  & Sons,  London. 


SIK  JOSHUA  REYXOLUS,  P.R.A. 

Kxgi.ish  : 1723 — 1792 


87— A ROMANTIC  WOODY  LANDSCAPE 

Height,  29  inches-  -width,  28  inches 

Trees  in  full  foliage,  with  a stream  flowing  through  the  middle  distance. 

Hills  licyond,  and  a blue  sky  towards  sunset. 

Said  to  have  been  the  property  of  Mar/j  Palmer,  Re/jnolds's  niece,  who 
became  Marchioness  of  Thomond.  Sold  after  her  death  at  Chris- 
tie's in  1821  as  “J  Woodg  Landscape,  one  of  the  feze  performances 
in  this  line." 

In  the  Rogers  sale,  1856,  Xo.  604,  where  it  was  described  as  ‘M  Ro- 
mantic Landscape  intersected  bp  a stream  of  water,  a highly 
poetical  worh-,  in  the  manner  of  Titian."  In  the  Wynn  Ellis  Sale, 
May  6,  1876,  and  in  that  of  H.  de  Zoete,  May  8,  1885.  It  was 
subsequently  acquired  by  Sir  James  Knowles. 

Exhibited  at  the  Royal  Academy,  1886,  Xo.  42,  and  in  1903,  Xo.  7. 

Redford-.  "Art  Sales,"  1888,  p.  104. 

Graves  k Cronin  : “irorAw  of  Reynolds,"  1899,  Vol.  Ill,  p.  1234. 


JOHN  CONSTABLE,  R.A. 

English:  1776—1837 

88—FLATFOKD  LOCK 

Height,  27  inches;  length,  36  inches 

A LARGE  is  passing  tlvrough  the  Lock,  near  trees,  on  the  right.  On 
tJie  bank  on  the  left  is  a man  on  the  back  of  a barge-horse.  A church 
tower  in  the  distance. 

C.  J.  Holmes:  “Constable,”  1902,  p.  247,  claiming  that  this  picture  was  painted 
about  182.5,  alludes  to  “The  Lock”  in  the  Diploma  Gallery  at  Burlington  House.  He 
adds  that  “Constable  speaks  in  a letter  of  being  engaged  on  two  pictures  of  ‘A 
Lock’  during  this  year.  Lady  Tate  has  a smaller  variant  of  the  subject  which  has 
been  excellently  mezzotinted  by  Frank  Short.” 

From  the  Tate  Collection  it  passed  to  Vicars  Brothers,  to  whom  on  July  7,  1914. 
Sir  Frank  Short.  P.R.E.,  wrote:  “The  picture  of  Flatford  Lock  by  Constable  now  in 
your  possession  is  the  one  from  which  I made  my  mezzotint  engraving  in  1889.  It 
was  at  that  time  in  the  collection  of  the  late  Sir  Henry  Tate.” 


WILLAM  HOGARTH 

English:  1697 — 1761 

89— MISS  PERT:  A CONVERSATION  PIECE 

Height,  22  inches;  u'idtli,  19  inches 

Small  full-length  ; seated  on  a bank,  the  body  turned  toward  the  left, 
with  the  face  to  the  spectator.  In  a low-cut  white  satin  dress  with 
ample  skirt,  pink  corsage,  short  sleeves,  small  flat  straw  hat,  pearl 
necklace.  Fruit  in  her  hands. 

Said  to  be  one  of  a series  painted  by  Hogarth  17-50-1760. 

The  traditional  pedigree  of  this  picture  is  that  it  u'as  sold  by  Hogarth 
at  auction;  was  in  the  collection  of  Mr.  Lane  of  Hillington  (who. 
it  will  he  remembered,  owned  the  ^'’Marriage  a la  Mode"  series 
now  in  the  National  Gallery)  ; was  in  the  collection  of  Wynn 
Ellis;  in  that  of  Kenneth  Clark,  and  subsequently  belonged  to 
Michael  Dreicer. 


SIR  HEXRY  RAEBURX,  R.A. 

English:  1756 — 1823 

90—POETBAIT  OF  MBS.  THOMAS  LIN  ACHE 

Height,  24  inches:  width,  201/2  inches 

Bust,  three-quarters  to  the  riglit.  In  a wliite  dress  and  a white  cap 
tied  with  black  bows  under  the  chin. 

In  the  collection  of  Lord  lionald  Gower. 

Purchased  front  Messrs.  Shepherd  Bros.,  London. 


SIR  HENRY  RAEBURN,  R.A. 

English:  1756 — 1823 

PORTRAIT  OF  THE 

REV.  DR  FRAXCTS  NICOL 

Height,  30  inches;  width,  25  inches 

Bust,  tliree-quarters  to  tlie  right.  A middle-aged  man,  with  ruddy 
complexion.  In  a brown  coat,  white  cravat,  and  wig. 

Dr.  Nicol  was  Principal  of  the  United  College  of  St.  Andrews. 

Exhibited  at  Edinburgh,  1824',  and  in  1876. 

Exhibited  at  the  Royal  Academy,  1883. 
ir.  Armstrong,  “Raeburn,''  19,  p.  109. 

Greig:  “Raeburn,"  1911,  p.  55. 

Bought  from  the  family  by  Arthur  Tooth,  London. 


JOHX  OPIE,  R.A. 

English:  1761 — 1807 

^2— PORTRAIT  OF  3IRS.  RITTERDON 

Height,  30  inches;  zvidth,  25  inches 

Half-length,  the  body  turned  toward  tlie  right,  looking  out  at  the 
spectator.  Wide  flat  cape;  mob  cap;  tlie  riglit  hand  crossed  before 
her  over  the  left. 

In  the  collection  of  Charles  A.  IVallcer,  Boston. 

Exhibited  on  Loan  in  the  Worcester  Museum,  Massachusetts,  1913. 


FRANCIS  COTES,  R.A. 

English:  1725 — 1770 

9S— PORTRAIT  OF  3IISS  AXNA  WILLIAMS 

Height^  21  inches;  width,  20  inches 

Bust,  tliree-quarters  to  the  right.  In  a green  low-cut  dress,  and  a 
yellow-brown  mantle  edged  with  fur. 

Anna,  daughter  of  John  Williams  of  Mold. 

From  the  collection  of  Colonel  Ridgway,  of  Sheplegh  Court,  De-con. 


JOHN  OPIE,  R.A. 

English:  1761—1807 

M— PORTRAIT  OF  THE  EARL  OF  ORPEN 

Height,  30  inches;  width,  25  inches 

Half-length,  three-quarters  to  the  left.  Middle-aged,  and  with  a florid 
expression,  clean  shaven,  and  with  gray  hair,  wearing  a black  coat  and 
a stock.  Under  a tree.  Landscape  background. 


JOHX  IIOPPXER,  K.A. 

English:  1758 — 1810 


95—F(mTKAIT  OF  THE  COUNTESS  OF  EUSTON 

Height,  211/4  inches;  zi'idth,  201/4  inches 

liusT  length,  tlirec-quartcrs  to  the  left,  looking  out  at  the  spectator. 
In  a white  dress,  cut  low  over  the  breast. 

Charlotte  Maria,  second  daughter  of  Janies,  2nd  Earl  of  tValdegrave,  was  born 
October  11,  17()1;  married  George,  Earl  of  Euston,  who  succeeded  his  father  as  -Ith 
Duke  of  Grafton.  She  died  February  1,  1808. 

In  the  collection  of  the  Duke  of  Grafton,  there  is  a half-length  portrait  painted 
in  1798,  and  engraved  by  C.  Wilkin  and  T.  Burke.  The  miniature  of  her  in  the 
Pierpont  Morgan  Collection  (illustrated  in  G.  C.  MJlliamson's  “Catalogue”  and  as 
“The  Countess  of  Exeter”  in  the  Connoisseur,  May,  1907,  p.  4)  does  not  seem  to  be 
by  Hoppner,  who  had  neither  the  training  nor  the  patience  for  painting  portraits. 

This  picture  is  described  by  4V.  Roberts:  “Hoppner,”  Supplement,  1914,  p.  16,  as 
“lacking  the  artist’s  finishing  touches.  It  represents  the  Countess  at  an  earlier  period 
than  1798  when  the  engraved  portrait  was  painted,  and  is  more  nearly  like  the 
miniature  of  her,  ascribed  to  Hoppner,  now  in  the  J.  Pierpont  Morgan  Collection.” 
Downman  also  painted  her  portrait. 


SIR  THOMAS  LAWREXCE,  P.R.A. 

English:  1769—1830 


PORTRAIT  OF 

THE  RT.  HON.  GEORGE  CANNING 

Height,  30  inches;  width,  25  inches 

Bust  length ; full  face.  In  black  coat  and  white  cravat.  Bald-headed. 
His  left  elbow  on  a table  and  the  fingers  raised  to  his  cheek.  Red 
curtain  background. 

This  distinguished  statesman  and  orator  (1770-1827)  as  a youth  enjoyed  the 
friendship  of  I.ord  Liverpool.  In  1800  he  married  Joan  Scott,  sister  of  the  Duke  of 
Portland.  In  1814  he  was  appointed  Ambassador  to  Lisbon.  He  died  at  the  Duke 
of  Devonshire’s  villa  at  Chiswick  in  the  room  in  which  Charles  James  Fox  had  expired 
twenty-one  years  earlier.  As  a parliamentary  orator  he  holds  a prominent  place  in 
British  annals. 

I.awrence  exhibited  portraits  of  Canning  at  the  Royal  Academy  in  182.5,  N'o.  83, 
and  1826,  No.  109.  Portraits  of  him  by  Lawrence  were  exhibited  by  the  King  and 
by  Sir  Robert  Peel  at  the  British  Institution  in  1830,  No.  56  and  No.  90.  Another 
was  lent  by  the  Corporation  of  Liverpool  to  the  National  Portrait  Exhibition,  1868, 
No.  237.  Another  was  lent  to  Christ  Church,  Oxford,  to  the  Exhibition  of  Portraits, 
1906,  No.  187.  Other  portraits  were  painted  by  him  in  1810  and  1814.  Sir  Walter 
Armstrong  in  his  “Lawrence,”  1913,  p.  119,  “lists”  seven.  Some  were  engraved  by 
W.  Say  and  C.  Turner. 

O’Donoghue:  “Engraved  British  Portraits,”  Vol.  I,  p.  333. 

In  the  collection  of  M)s.  Cooke  of  Leyhourne,  Yorks,  from  whom  it 
was  purchased. 


SIR  WILLIAM  BEECHEY,  R.A. 

English:  1753 — 1839 

Q7— PORTRAIT  OF  A NAVAL  OFFICER 

Height,  30  inches;  reidth,  25  inches 

Half-length,  tliree-quarters  to  the  right.  Blue  uniform  with  gold 
buttons,  white  vest  and  cravat  and  black  cocked  hat.  Resting  his  right 
arm  against  a table,  the  hand  grasping  his  sword  below  the  hilt. 

Purchased  from  Scott  & Fozcles,  Xeu;  York. 


FRANCIS  COTES,  R.A. 

Exglish  : 1725 — 1770 

98~PORTBAIT  OF  A LADY 

Height,  30^  inches;  width,  25  inches 

Half-lengtpi,  in  full  face.  In  a pink  dress  lined  with  ermine,  full 
short  sleeves ; pearl  ornaments.  Her  hands  rest  on  a parapet  before 
her. 


THOMAS  GAINSBOROUGH,  R.A. 

English:  1727 — 1788 


^^—POBTRAIT  OF  3IFS.  COCKBUEX 

OF  ROCHESTER 

Height,  30  inches;  width,  25  inches 

Half-length,  three-quarters  to  the  right.  Seated,  wearing  a low-cut 
dress,  necklace  and  earrings ; flowers  at  her  breast. 

Purchased  from  a direct  descendant  of  the  lady. 


GEORGE  ROMNEY 

English:  1734 — 1802 

im— PORTRAIT  OF  A MAN  IN  A RED  COAT 

Height,  30  inches;  width,  25  inches 

Half-length  ; three-quarters  to  the  left.  In  a red  buttoned  coat, 
white  cravat  and  full  wig.  He  has  a florid  complexion. 

In  the  collection  of  Maurice  Kann,  sold  June  9,  1911,  No.  52,  p.  57. 
Has  been  engraved. 

Purchased  from  Messrs.  Cottier  & Co.,  New  York. 


JOHN  HOPPNER,  R.A. 

English:  1758 — 1810 

101— POBTR AIT  OF  SIR  GEORGE  BEAUMOXT 

(Oval) 

Height,  29  inches;  width,  21  inches 

Brsx  length,  three-quarters  to  the  left.  Black  coat,  with  brass  buttons, 
white  cravat.  Florid  complexion  and  curly  gray  hair.  Red  curtain, 
withdrawn  on  the  left  to  show  a landscape. 

Sir  George  Howland  lieaumont,  Bart.,  of  Stoughton  Grange,  Co.  Leicester; 
born  Nov.  6,  17.53;  succeeded  his  father  in  1762;  iNI.P.  for  Beeralston,  1790-1796; 
married  Margaret  Wilts,  May  6,  1778.  Died  Feb.  7,  1827. 

Another  portrait  by  Hoj^pner,  engraved  by  W.  Say,  J.  S.  Agar  and  J.  Wright, 
was  formerly  in  the  Mulgrave  Castle  Collection  and  that  of  Sir  Edward  Sassoon. 
Hoppner  probably  painted  several  examples  of  his  portrait  of  Beaumont;  one  was 
in  the  Hojjpner  sale,  1823,  No.  27 ; another  in  the  David  Wilkie  Sale,  .Vpril  30,  1842, 
No.  674.  Sir  Joshua  Reynolds  and  Sir  Thomas  I.awrence  also  painted  his  portrait. 
O'Donoghue:  “Engraved  British  Portraits  in  British  Museum,"  I,  148. 

W.  Roberts:  “Hoppner,"  1909,  p.  17. 


In  the  collection  of  G.  H.  S.  Glasier,  London. 


SIR  JOSHUA  REYNOLDS,  P.R.A. 

English:  1723—1792 


\02~PORTRAIT  OF  ARCHIBALD  BOWER 

Height,  30  inches;  width,  25  inches 

Half-length,  tlie  eyes  to  the  left.  In  a gray-black  coat,  lace  cuffs 
and  full  wig.  A folio  in  his  right  hand. 

He  sat  to  Reynolds  in  February,  17.57,  and  .Tune,  1758;  this  picture  was  paid 
for  before  1760  by  I.ord  Carysfort.  In  the  Anthony  Sale  at  Christie’s,  Februarj', 
1871,  No.  375,  it  was  bought  in.  Sold  afterward  at  Foster’s  to  Henry  Graves  & Co., 
from  whom  it  passed  to  Charles  William  Kraushaar,  of  New  York. 

The  life  of  Archibald  Bower  (1686-1766),  British  ecclesiastical  historian  and 
antiquarian,  was  a strange  one.  He  left  Scotland  for  Italy  as  a child,  and  was 
educated  at  the  Scotch  College  at  Douai  and  at  Rome,  where  in  1706  he  joined  the 
order  of  the  Jesuits.  Suspicion  of  heresy  having  risen  against  him,  he  fled  to 
England  in  1726,  where  he  made  public  profession  of  Protestantism.  He  subse- 
quently withdrew  from  the  Roman  Catholic  Church.  For  years  he  lived  on  terms 
of  intimacy  with  Lord  Aylmer.  He  became  I.ibrarian  to  Queen  Charlotte. 

G.  Knapton  also  painted  the  portrait  of  .Archibald  Bower. 

“This  picture  I well  rememher.  We  bought  it  at  Mr.  Anthony’s  sale  in  1871, 
together  with  the  ‘Mrs.  Bower’  which  was  in  the  possession  of  Baron  de  Bournon- 
ville  ten  years  ago.  Both  pictures  were  good  specimens  of  Sir  Joshua’s  early 
manner,  and  I believe  tbe  ‘Mrs.  Bower’  to  be  the  original  engraved  by  J.  Faber  in 
1755.  The  picture  is  recorded  in  Mr.  Reynolds’s  books,  and  the  ownership  there  is 
‘given  to  yourself.’  ’’ — Extract  from  a letter  of  Oct.  24,  1910,  from  Algernon  Graves 
to  C.  W.  Kraushaar. 

I.eslie  and  Taylor,  “Reynolds,”  1865,  I,  p.  155;  Graves  and  Cronin,  “Works  of 
Reynolds,”  1899,  Vol.  I,  p.  106. 

W.  Armstrong:  “Sir  Joshua  Reynolds,”  1900,  p.  195. 

O’Donoghue:  “Engraved  British  Portraits  in  British  Museum,”  Vol.  I,  p.  220. 

Engraved  by  J.  Faber  and  by  Richard  Josey. 

Exhibited  at  the  National  Portrait  Exhibition,  1867,  No.  382. 
Purchased  from  Mr.  C.  TF.  Kraushaar  by  Mr.  Smith  in  1912. 


JOHN  HOPPNER,  R.A. 

English:  1758 — 1810 


PORTRAIT  OF  31ISS  HOME 

{“The  Girl  tcith  the  Kitten”) 

Height,  30  inches;  width,  25  inches 

Small  full-lengtli,  the  body  turned  toward  the  left  looking  out  at  the 
spectator.  Seated  on  the  ground  in  a landsca2)e,  in  a white  frock  with 
short  sleeves.  A kitten  in  her  arms. 

She  was  the  daughter  of  Sir  Everard  Home,  Bart.  (17.56-1832),  1st  President 
of  the  Royal  College  of  Surgeons. 

Sold  at  Christie's,  Jnlg  12,  1912,  No.  61. 

In  the  possession  of  Asher  Wertheimer. 

Dictionary  of  National  Biography,  1891,  Vol.  NNVII,  p.  227. 

W.  Roberts:  “J.  Hoppner,"  Supplement,  1911,  p.  21. 


SIR  THOMAS  LAWREXCE,  P.R.A. 

English:  1760—1830 

PORTRAIT  OF  MARIE  CLOTILDE  MOTTE 
ET  BE  LA  FONTAINE,  LADY  RUSSELL 

Height,  30  inches;  width,  25  inches 

Three-quarter  length,  turned  three-quarters  to  the  right,  looking  out 
at  the  spectator.  In  white  dress,  pink  wrap  and  blue  sash.  Her  hands 
raised  to  her  breast.  Landscape  background. 

She  was  the  daughter  of  Benoit  Motte  et  de  la  Fontaine,  Baron  de  Sr.  Corneille, 
Seigneur  de  la  Motte  et  de  la  Fontaine  in  Picardy.  In  1816  she  married,  as  his 
second  wife.  Sir  Henry  Russell,  2nd  Bart,  of  Swallowfield,  Yorks,  who  was  for 
many  years  British  resident  at  the  Court  of  Hyderabad. 

“Dictionary  of  National  Biography,'’'  Vol.  19,  p.  T28. 

In  the  collection  of  Benjamin  Faulkner,  London. 

Exhibited  on  loan  in  the  Worcester  Museum,  Massachusetts,  1913. 


SIR  JOSHUA  REYNOLDS,  P.R.A. 

English:  1727 — 1788 

lOo—rOllTRAIT  OF  3I11S.  HILLERSDEN 

Height,  30  inches;  width,  25  inches 

Half-length,  in  full  front.  In  a white  satin  dress  with  long  sleeves ; 
blue  cloak  trimmed  with  ermine.  A blue  band  round  her  neck  and  one 
in  her  hair. 

For  some  time  this  portrait  was  tentatively  identified  with  that  for  which  Mrs. 
Hillersden  gave  sittings  to  Sir  Joshua  in  December,  1757.  (See  Leslie  and  Taylor, 
“Reynolds,”  1865,  Vol.  I,  p.  157;  and  Graves  and  Cronin:  “Reynolds,”  1899,  Vol.  It, 
]).  465.) 

From  the  collection  of  W.  E.  Hadden,  RE.,  of  Kent  Gardens,  Ealing, 
London.  The  companion  portrait  of  Mr.  Hillersden,  of  Harpen- 
den  Heights,  Herts,  is  said  to  he  in  private  possession  at  Cleveland, 
Ohio. 


GEORGE  ROMXEY 

English:  1734 — 1802 

\0Q— PORTRAIT  OF  MRS.  PHIPPS 

Height,  30  inches;  width,  25  inches 

Three-quarter  length,  tliree-quarters  to  the  left.  In  green  dress 
spotted  with  white,  and  wliite  fichu.  Large  white  mob  cap,  the  strings 
tied  under  her  chin.  Neutral  backgi'ound. 

Mary,  daughter  and  sole  heir  of  Richard  Peckham,  of  Upper  Marden,  Sussex, 
married  Thomas  Phipps,  of  Heywood,  1742.  She  died  1793. 

Sittings  to  Romney  were  given  in  March  and  April,  1780. 

In  the  collection  of  the  family. 

In  the  possession  of  Thomas  Agnew  & Sons,  and  M.  Knoedler  & Co. 
Ward  and  Roberts:  "‘'Romney,"  1904,  Vol.  II,  p.  123. 


THOMAS  HUDSON 

English:  1701—1779 

\Q7~FOBTEAIT  OF  A YOUNG  WOMAN 

Height,  30  inches;  ■width,  25  inches 

Half-length  slight!}'  to  the  left.  In  a low-cut  white  dress,  seen  to  the 
elbows,  with  pink  insertion.  Her  hair  falls  on  her  shoulders.  Painted 
in  a feigned  oval. 

Exhibited  on  loan  in  the  Worcester  Museum,  Massachusetts,  1913. 


SIR  GODFREY  KNELLER 

English:  1646 — 1723 

10^— PORTRAIT  OF  MRS.  KING 

Height,  30  inches;  width,  25  inches 

Half-length,  full  face.  In  a blue  dress,  with  short  sleeves ; a mantle 
over  her  left  shoulder.  A bow  in  her  hair.  Her  name  is  inscribed  on 
the  front  of  the  canvas. 

Exhibited  at  Roy. 

In  the  collection  of  the  King  family,  and  of  Sholto  Montgomery  Cay. 
Purchased  from  Messrs.  Scott  & Fowles. 


SIR  PETER  LELY 

PjNglish  : 1618 — 1680 

lOQ—POllTRAIT  OF  BARBARA  VILLI ERS, 

DUCHESS  OF  CLEVELAND 

Height,  19  inches;  width,  IQl/o  inches 

Three-quarter  length,  three-quarters  to  the  left,  seated.  In  a saffron 
yellow  low-cut  dress  with  short  sleeves  lined  with  white.  Her  hair, 
decked  with  pearls,  falls  in  ringlets  on  her  forehead.  The  fingers  of 
her  right  hand  placed  on  the  left  wrist,  on  which  is  a bracelet ; flowers 
in  her  left  hand.  A curtain  in  the  left  background ; the  base  of  a col- 
umn on  the  right. 

Barbara  Villiers  (1641-1709),  daughter  of  WiUiam,  2nd  Viscount  Grandison, 
married,  in  1659,  the  Earl  of  Castlemaine.  Became  Countess  of  Northampton  and 
Duchess  of  Cleveland.  She  was  regarded  as  "a  woman  of  great  beauty,  but  most 
enormously  vicious  and  ravenous,  foolish  but  imperious.” 

In  the  collection  of  Martin  Colnaghi,  London,  and  bought  at  his  death 
by  Thomas  Agncw  & Sons. 

Exhibited  at  the  Royal  Academy,  1908,  Xo.  184. 


SIR  HENRY  RAEBURN,  R.A.,  P.R.S.A. 

English:  1756—1823 


1\0— PORTRAIT  OF  JOHN  GRAY,  OF  NEW  HOLM 

Height,  50  inches;  •width,  4*0  inches 

THREE-auARTER  length;  full  face.  A portly  old  gentleman,  seated;  in 
a brown  coat,  lemon-colored  waistcoat,  black  knee-breeches  and  silk 
stockings.  In  his  left  hand  he  holds  a snuff-box.  His  right  hangs  over 
the  back  of  the  chair.  Landscape  seen  through  the  window  on  the  left. 
John  Gray  (1731-1811)  was  for  many  years  Town  Clerk  of  Edinburgh. 

Painted  before  1806. 

In  the  collection  of  Major  General  Cunningham,  who  for  many  years 
lent  it  to  the  Scottish  National  Gallery. 

Exhibited  at  Edinburgh,  1876,  No.  113. 

Mezzotinted  by  G.  Dawe,  1806. 

W.  R.  Andrew:  “Raeburn,”  1894,  p.  124. 

Sir  W.  Armstrong : “Raeburn,”  1901,  p.  103,  plate  at  p.  52. 

J.  Greig:  “Raeburn,”  1911,  p.  47. 

O'Donoghue : “Engraved  Portraits  in  British  Museum,”  Vol.  II,  p.  375. 


CHARLES  BALTHAZAR  JULIEN  FEVRET 
DE  SAINT  MEMIN 

French-Americak  : 1770 — 1852 


111— TWO  POET  R AIT  S'. 

GENERAL  AQUILA  GILES  AND 
ELIZABETH  SHIPTON  GILES 

(Black  and  white  crayon,  on  pink  ground) 

Height  (each),  19  inches;  width,  inches 

Both  portraits  in  profile  to  left ; that  of  the  General  on  a cool  grayish- 
pink  ground,  that  of  his  wife  on  a warm  pink  ground.  Both  persons  in 
middle  age.  He  is  in  a military  coat  with  epaulettes,  and  with  jabot  and 
wig  or  peruke.  She  wears  a mass  of  puffed  and  curled  hair  bound  with 
double  bands  of  pearls,  pearl  earrings  and  necklace,  and  a plaited 
waist  with  lace  neck  frill. 

The  portraits  are  accompanied  by  a number  of  letters  to  and  from  General 
Aquila  Giles,  and  other  manuscripts. 

Gen.  Aquila  Giles,  son  of  Jacob  Giles  of  Maryland;  keeper  of  military  stores; 
taker  of  First  Census;  first  United  States  Marshal  of  New  York  City;  married 
during  the  Revolutionary  War,  while  on  the  staff  of  Gen.  St.  Clair  and  a prisoner, 
Elizabeth  Shipton,  niece  of  the  wife  of  Col.  William  Axtell,  British  commander  at 
Flatbush.  Both  tlie  General  and  his  wife  are  buried  in  Trinity  Churchyard.  Their 
son  George  Washington  Giles,  who  inherited  these  drawings,  married  Elizabeth, 
daughter  of  Suzanne  Murray,  of  the  Murrays  of  Murray  Hill,  and  William  Ogden, 
and  the  ])ortraits  passed  to  their  son  William  Ogden  Giles  (born  1829).  William 
Ogden  Giles  married  as  his  second  wife,  in  1872,  Catherine  Chambers  Darlington, 
from  whom  the  j)ortraits  were  obtained  and  sold  to  Mr.  Smith. 

Saint  Memin  was  born  in  Dijon  in  1770,  and  died  there  in  1852,  after  having 
spent  the  last  thirty-five  years  of  his  life  as  Director  of  the  museum  of  that  city. 
He  came  to  New  York  at  the  age  of  twenty-three  and  remained  here  five  years, 
until  1798,  in  which  year  he  was  also  in  New  Jersey,  going  thence  to  Philadelphia 
and  remaining  until  1804;  the  succeeding  three  years  he  spent  in  Baltimore,  Annapolis 
and  Washington,  the  following  year  he  was  in  Yirginia,  and  the  next  in  South 
Carolina.  Back  in  New  York  in  1810,  he  sailed  for  France,  returning  in  1812  for 
three  years,  after  which  he  went  to  his  native  land  for  good  and  two  years  later 
entered  upon  the  directorship  of  the  Dijon  Museum.  In  New  York  in  1793  he 
“introduced  the  physionotrace,  an  instrument  to  trace  the  human  profile  with  mathe- 
matical accuracy.  These  life  size  profiles  were  drawn  on  soft  pink  pajjer,  finished 
in  black  and  white  crayon,  producing  very  attractive  and  life-like  portraits.  ♦ * * 
Of  these  portraits  Saint  Memin  took  in  this  country  more  than  eight  hundred.  ♦ ♦ * 
But  for  the  art  of  Saint  Memin  we  should  be  without  portraits  of  many  important 
characters  whose  likenesses  he  has  alone  taken.” — Ch.ari.es  Hexrv  H.\rt  in  the  cata- 
logue of  the  private  collection  of  iMr.  Herbert  L.  Pratt. 


AMERICAN  PORTRAITS 


THOMAS  SULLY,  X.A. 

( flonorary  ^lember,  elected  1827) 

Ameuicax:  1783 — 1872 

1 1 2— DOUBLE  FICTUliE : 

FOBTEAIT  OF  MISS  SULLY  AXD 
SELF-PORTRAIT  OF  THE  ARTIST 

(Oh  cardboard;  circular) 

Diameter,  7)/b  inches 

On  one  face  a balf-lengtli  sketch-portrait  of  the  artist,  by  liimself,  to 
right,  til  ree-(juarters  front,  bolding  a letter  or  a bit  of  sketching  paper. 
He  is  in  a black  coat,  wears  a white  neck-cloth,  and  the  background  is 
brown  and  gray.  On  the  opposite  face,  “Miss  Sully” — a bead  and 
shoulders  portrait  of  a chubby  child  with  cherubic  face  and  reddish- 
golden  hair,  against  an  azure  and  gray  background. 

In  a letter  dated  Ajiril  27,  1917,  the  jirevious  owner  of  the  picture,  from  whom 
Mr.  Smith  purcliased  it,  wrote:  “The  circular  jiainting  of  the  bahy's  head  by  Thos. 
Sully  was  brought  to  me  several  years  ago.  It  is  an  unusual  specimen  of  Sally's 
work  and  well  painted.  It  may  interest  you  to  know  that  when  I purchased  it  it  was 
mounted  on  a cardlioard,  and  on  removing  the  board  with  the  intention  of  putting 
it  on  a panel  I discovered  the  sketch,  evidently  of  Sully  by  himself.  It  is  difficult 
to  say  which  side  of  the  frame  is  most  interesting." 


HENRY  INMAN,  N.A. 

American:  1801 — 1816 

113— ELIZABETH  OAKES  SMITH, 

nee  PRINCE  (1806-1893) 
Height,  30  inches;  width,  25  inches 

Bust  portrait — substantially  a half-length — of  a handsome  young 
woman  with  large  e3’es  of  deep  blue,  and  dark  hair  worn  in  wavy  ring- 
lets to  her  shoulders  ; she  is  facing  the  left,  three-quarters  front.  She 
wears  a mauve  waist  of  light  material,  drawn  to  a V at  the  belt,  and 
a white  underwaist  folded  low  and  exposing  a jeweled  necklace  with 
cross  pendant  on  her  breast ; a grayish  drapery  enfolds  her  shoulders. 
Nebulous  background  of  grayish  tones. 

Mrs.  Elizabeth  Oakes  Smith  {nee  Prince)  was  born  in  Cumberland,  Maine,  in 
1806,  and  about  1840  she  and  her  husband  Seba  Smith  settled  in  Brookljm,  where 
she  was  known  as  a poet  and  lecturer.  Her  death  occurred  in  1893. 


JAMES  SHARPLES 

American:  1751 — 1811 


1\4>—P01{TKAIT  OF  A 31  AN 

(Pastel) 

Height,  9 inches;  xcidth,  7 inches 

Bust  portrait,  to  right,  witli  face  to  tlie  front;  a man  with  white  wig, 
neck-clotli  and  waistcoat,  and  blue  coat,  the  coat  of  brilliant  hut  soft 
lapis  note,  with  a grayish  velvet  collar.  He  is  of  hold  features,  with 
keen  eyes  and  set  lips,  but  withal  an  expression  of  genial  aflfability. 
Dark  matt  background. 

James  Sharpies  was  distinctively  a pastellist,  although  he  painted  also  in  oils, 
and  exhibited  both  pastel  and  oil  portraits  at  the  Royal  Academy  in  London;  he 
sent  them  there  from  Cambridge  in  1779,  Bath  in  1782,  and  I.ondon  (Soho)  in  178.3. 
He  was  born  at  Bath  (England)  in  17.51;  he  came  to  New  York  from  his  Soho 
residence  (45  Gerrard  Street)  in  1794,  and  he  died  here  (at  8 Lispenard  Street) 
February  2(),  1811.  He  did  crayon  portraits  in  this  country,  the  prominent  persons 
he  portrayed  including  Washington,  Hamilton  and  Jefferson.  He  went  around  the 
country  in  a carriage  of  his  own  construction,  doing  portraits.  His  will  is  on  file 
in  the  New  York  Surrogate's  office. 


>/ 


JAMES  PEALE 

American:  1749 — 1831 

l\o~CAPTAIN  (?)  JAMES  CHAMBERS 

( Panel ) 

Height,  14  inches;  width,  12  inches 

Half-eexgth  portrait  of  a dignified  and  distinguished-looking  man 
with  young  face  and  white  hair,  which  in  its  thriving  abundance  is 
brushed  ivith  “attentive  carelessness”  in  large  curling  masses.  Warm 
comjilexion  ; aquiline  nose,  fine  mouth  and  large  blue  eyes.  A ery  slightly 
turned  to  the  left,  he  looks  with  frank  expression  direct!}'  at  the  spec- 
tator. Brilliant  dress  uniform  of  blue-black  coat  inth  high-standing 
scarlet  collar,  scarlet  revers  and  gold  braid ; formal  black  stock  about 
a white  one,  and  white  choker  collar.  Neutral  background  in  light  and 
dark  tones. 

Signed  at  the  lower  right,  J.  P.,  1809. 

James  Peale  was  the  youngest  lirother  of  Charles  Willson  Peale  and  was  born 
at  Annapolis;  died  in  Philadelphia,  1831.  Received  instruction  from  his  brother. 
Was  noted  as  a painter  of  miniatures,  and  painted  miniatures  of  Washington  on 
ivory  and  on  ])aj)er.  He  painted  portraits  in  oils  at  least  as  late  as  1812. 


THOMAS  SULLY 

American:  1783 — 1872 

WQSFBINGTIME 

Height,  18  inches;  xcidth,  13i/_>  inches 

Three-quarter-length  portrait  of  a hazel-eyed  young  mother  of  rosy 
countenance,  standing,  in  outdoor  costume,  holding  in  her  arms  a 
sturdy  little  girl  with  the  mother’s  own  eyes  and  cheeks,  and  with 
reddish-golden  tousled  hair.  The  eyes  of  both  are  centred  back  of 
the  observer  and  to  his  left.  The  child  is  bare-headed,  and  in  blue  with 
a white  smock.  The  girlish  mother  is  in  pinkish-gray  and  is  partly 
enfolded  in  a maroon  cloak,  and  she  wears  a buff-graA'  felt  hat  with 
down-rolling  brim  and  a rose-red  feather.  Earth  and  sky  background. 

On  back  of  canvas:  “‘Spring  time,’  Harper's  AVeekly;  T S 1866."  (Possibly  the 
date  is  186.5.) 


JOHN  WESLEY  JARVIS 

American:  1780 — 1839 


111— DANIEL  DEWEY  BABNABD  (1797-1861) 
Height,  21  inches;  width,  20  inches 

The  distinguislied  lawyer  and  legislator  appears  head  and  shoulders, 
very  slightly  turned  towards  the  left,  in  formal  black,  with  black  stock 
and  white  choker  collar,  and  a single  large  jeweled  stud  in  his  white 
shirt-front.  He  is  smooth-shaven  (with  closely  trimmed  side-whiskers), 
of  florid  complexion,  and  his  black  hair  is  carelessly  brushed.  Interior 
background  of  dark  olive,  with  purplish-rose  drapery. 

Mr.  Barnard  was  born  at  Sheffield,  Massachusetts,  in  1797,  the  family  removing 
early  in  the  succeeding-  century  to  New  York  State,  where  the  subject  of  the  por- 
trait was  elected  to  Congress  from  Monroe  county  in  1827.  He  was  at  that  time 
an  attorney.  Five  years  later  he  moved  to  Albany  and  was  eleeted  to  the  State 
Legislature,  and  in  1838  was  again  sent  to  Congress,  being  twice  reelected  and  refus- 
ing a third  nomination.  Geneva  College  gave  him  the  degree  LL.D.  in  1835  and 
Columbia  in  184-5.  He  had  traveled  in  Europe  in  1830,  and  in  1850  President  Fill- 
more sent  him  as  Minister  to  Prussia,  where  he  served  for  three  years.  He  died 
in  Albany. 


JOHN  VANDERLYN 

American:  1775—1852 


PORTRAIT  OF  A MAN 

(Panel) 

Height,  211/2  inches;  width,  17  inches 

Head  and  shoulders,  to  left,  more  than  half  to  the  front,  of  a stout  and 
youthful  man  with  dark  brown  hair  of  sand}^  trend,  and  connecting 
side-whiskers  which  curl,  his  graA'-blue  eyes  looking  upward  with  a 
smiling  expression  of  jejune  innocence,  which  his  years  belie.  He  is  in 
a brownish-black  coat,  with  white  high-collared  waistcoat  and  a white 
roll-collar  and  neck-cloth.  Broiraish-olive  background. 

John  Vanclerlyn,  an  Utster  County,  New  York,  man,  died  where  he  was  born, 
in  Kingston;  horn  1775,  died  1852.  Aaron  Burr  became  his  patron,  and  Vanderlyn 
through  him  had  an  opportunity  to  see  Gilbert  Stuart  at  work  and  also  to  copy 
Stuart’s  portrait  of  Burr — one  of  the  first  portraits  Stuart  painted  after  his  return 
to  this  country  from  England  in  1793.  Vanderlyn  went  to  Paris  in  1796  and  ex- 
hibited in  the  Salon  of  1800;  his  Marius  was  medaled  by  Napoleon,  and  he  brought 
it  hack  here  with  his  famous  Ariadne,  which  Charles  Henry  Hart  has  declared  “the 
finest  nude  figure  yet  painted  by  an  American.”  Both  a portrait  and  a nude  by 
Vanderlyn  were  sold  in  the  Thomas  B.  Clarke  Collection  of  Early  American  Por- 
traits last  year. 


WILLI A^I  JAMES  HUBARD 

Americax:  — 1862 

119— JOLIxV  MARSHALL  (17.5o-183.5) 

Height,  21  inches;  icidth,  17  inches 

Full-lexgth  portrait  of  the  famous  American  jurist,  seated  in  a red- 
upholstered  armchair  and  looking  intently  at  the  spectator,  his  lean 
shanks  crossed  to  his  right  and  his  hands  separated  on  his  lajD.  He  is 
in  black  throughout,  with  short-clothes  and  loose  shoes,  and  he  wears 
a white  stock  loosely  tied.  Conventional  background  of  landscape, 
statuary  and  a dark  crimson  drapery. 

On  hack-  of  canvas,  in  ink,  John  Marshall,  by  Hubard  ; 

071  stretcher,  in  ink,  Hubard,  pixxt. 

John  Marshall  (175.5-1835),  in  Congress,  1799;  Secretary  of  M'ar,  1800;  Secretary 
of  State,  1800;  Chief  Justice  of  the  United  States,  1801-1835;  President  of  American 
Colonization  Society;  Vice  President  American  Bible  Society. 

William  James  Hubard,  portrait  painter,  exhibited  at  the  Xational  Academy  of 
Design  as  early  as  1834.  He  was  brought  to  this  country  as  a boy  from  England, 
by  persons  who  profited  from  his  ability  to  cut  profiles,  and  Robert  W.  Weir  per- 
ceiving his  talent  persuaded  him  to  try  oil  work.  Hubard  studied  both  under  Weir 
and  Sully,  and  worked  in  Philadelphia,  New  York,  Boston  and  Baltimore,  and  died 
in  the  Confederate  service  at  Richmond  in  1862.  Portraits  of  Charles  Carroll  of 
Carrollton  and  of  Henry  Clay,  by  him,  are  in  the  collection  of  the  ^Maryland  His- 
torical Society. 


THOMAS  SULLY 

American:  1783 — 1872 


120—  THU  YOUNG  POET” 

Height,  21  inches;  •width,  20  inches 

An  unfinished  portrait  of  an  unidentified  young  man — the  head  alone 
probably  about  completed — called  “The  Young  Poet,”  and  believed  to 
be  the  start  or  sketch  for  a portrait  or  figure-canvas  of  a poet  or  of 
an  artist.  The  head  of  a dreamy-eyed  young  man  of  large  but  delicate 
features,  witli  long  brown  hair  brushed  carelessly  smooth  over  the  crown 
and  falling  in  thick  disheveled  ringlets  to  his  neck.  Head  to  right, 
three-quarters  front ; shoulders  slightl}'  to  left ; complexion  fair  and 
warm.  He  seems  to  be  wearing  a stock,  almost  the  color  of  his  hair. 

From  the  collection  of  Mrs.  Benjamin  Thaw,  Xew  York,  1916,  Xo.  153. 


COLONEL  JOHN  TRUMBULL 

American:  1756 — ISIS 

V2\~CALEB  STRONG,  GOVERNOR  OF 

MASSACHUSETTS  (1745-1819) 

Height,  241/4  inches;  width,  191/2  inches 

Bust  portrait  to  riglit,  face  three-quarters  front ; a man  of  middle  age, 
with  light  eyes  and  eyebrows,  dark  hair  and  thin  side-whiskers.  Blue- 
black  coat  and  waistcoat,  and  white  neck-cloth.  Dark  brownish  back- 
ground. 

The  title  as  above  given  is  that  by  which  Mr.  Smith  held  the  picture,  which, 
however,  was  catalogued  as  “Portrait  of  a ilan”  in  the  collection  of  Mrs.  Benjamin 
Thaw,  whence  it  came,  in  1917.  The  authenticity  of  the  canvas  as  by  Trumbull  is 
not  questioned.  The  identity  of  the  sitter  was  not  established  in  that  catalogue, 
but  the  possible  identification  of  the  sid/ject  as  Governor  Strong  was  disposed  of 
by  Charles  Henry  Hart,  writer  of  the  catalogue,  to  his  own  satisfaction,  as  follows: 
“This  portrait  bears  a considerable  resemblance  to  the  portrait  of  Caleb  Strong. 
Governor  of  Massachusetts,  when  a much  older  man,  but  from  the  period  of  the 
costume,  which  is  later  than  Strong's,  cannot  be  of  him  at  an  earlier  date.  It  is 
beautifully  drawn,  and  modeled  in  TrumbuU’s  manner  of  the  second  decade  of  the 
last  century.”  The  several  jirints  of  jiortraits  of  Governor  Strong  assembled  by 
Mr.  Smith  justify  the  comparison  of  likeness;  equally,  they  fail  to  disturb  Mr.  Hart’s 
logic. 


JOHN  SINGLETOX  COPLEY 

Americax  : 1737 — 1815 


V22—GAWEN  BROWN  (1719-1801) 

Height,  28  inches;  width,  22  inches 

The  early  New  England  clockniaker,  who  made  tlie  clock  of  tlie  Old 
South  Cliurch,  Boston,  receiving  eighty  pounds  for  it  in  1774,  is  por- 
trayed standing,  observed  at  half-length  witli  figure  toward  the  right 
and  head  turned  to  look  full  at  the  observer.  He  holds  in  his  left  hand 
his  gold  watch,  its  domed  crystal  open  and  key  hanging  as  pendant  to 
its  fine  looped  chain.  Pie  is  of  warm  complexion,  with  deep  gray-blue 
eyes,  and  his  abundant  brown  hair  is  brushed  smooth  over  a high  fore- 
head,  and  outward  in  a curly  mass  about  his  ears,  which  it  almost  covers 
up.  A white  stock- jabot  stands  out  above  his  ])artly  unbuttoned  old- 
rose  waistcoat,  and  his  green-blue  coat  with  a ruffled  flap-collar  is  open. 
Olive-brown  background.  Portrait  painted  in  1763. 

Mr.  Brown  was  the  father,  by  the  second  of  his  tliree  wives,  Elizal)eth  Bytes, 
of  the  American  portrait  painter  Mather  Brown,  who  is  represented  in  the  collec- 
tion by  a Portrait  of  a Man,  No.  58.  The  son  was  named  for  his  mother's  father, 
the  Rev.  IVIather  Byles.  The  marriage  of  Gawen  Brown  to  Elizabeth  Byles  took 
place  exactly  three  weeks  after  his  first  wife's  death  in  1760.  Copley  also  painted 
a portrait  of  Elizabeth  Byles  Brown  in  the  same  year  as  this  one,  the  year  in 
which  she  died,  1763;  both  she  and  Copley  at  this  time  w’ere  26  years  old.  That 
portrait  was  sold  in  the  Thomas  B.  Clarke  Collection  of  Early  American  Portraits. 
New  York,  January,  1919. 

“Copley's  portrait  of  Gawen  Brown  is  a rarely  fine  example  of  Copley's  best 
American  straight  portraiture,  dignified  and  simple  in  pose,  earnest  in  expression, 
and  subdued  in  color;  w'ithout  elaborateness  in  the  drapery;  being  very  like  in  pose 
and  treatment  to  his  self-portrait  in  New  York  Historical  Society.'' — Chahi.es  Hexry 
Hart. 


REMBRANDT  REAI.E,  X.A. 

Amerioax:  1778 — 18(50 

V2'i— CAPTAIN  DENNISON  WOOD,  NEW  Y OR  KEF 

Height,  30  inches;  width,  'il  inches 

As  the  largest  sliipowner  of  liis  da^g  this  native  New  Yorker  is  appro- 
priately presented  holding  a sliip’s  glass,  which  is  tucked  within  his 
left  elbow  and  gripped  by  his  riglit  hand,  as  he  stands  facing  the  left 
with  head  turned  forward — but  his  clear  and  keen  blue  eyes  lookiiig  far 
back  of  the  spectator.  He  is  seen  at  half-length,  and  behind  him  a 
window  in  a brown  paneled  wall  looks  out  upon  the  breezy,  gray-blue 
bay,  toward  the  distant  Narrows.  A few  sail  are  seen,  and  the  green- 
blue  sky  is  massed  with  rolling  summer  clouds.  He  is  in  a black  coat 
witli  rolled  collar,  a white  waistcoat  and  cravat,  and  his  face  has  a rosy 
outdoor  color.  His  dark  hair  is  curly  and  tousled,  and  he  wears  curly 
sidc-wliiskcrs,  trimmed  higli. 

Ca]itain  ^\'ood  was  reputed  the  largest  sliipowner  of  his  time,  and  operated 
lines  of  luereliantnien  between  New  York  and  Havre  and  Boston  and  Havre.  His 
descendants  have  continued  to  live  in  New  York,  his  native  city,  and  the  portrait 
had  never  Iieen  out  of  Xew  York.  It  was  accpiired  from  his  great-great-grandson, 
Ernest  Lockwood,  who  inlierited  it  in  direct  line. 


JOHN  WESLEY  JARVIS 

Amehicax:  1780 — 1839 


124^— PRESIDENT  WASHINGTON 

Height,  30  inches;  width,  251/4  inches 

A PORTRAIT  done  without  a sitting,  but  signed  by  the  painter.  Full- 
length  standing,  facing  the  observer,  head  turned  toward  the  subject’s 
right,  and  glance  somewhat  downward  and  abstract.  The  First  Presi- 
dent is  in  deep  blue — almost  black — civilian  attire,  inth  black  stockings 
and  silver  shoe  buckles,  and  white  stock  and  jabot  and  white  lace  cuffs. 
In  his  left  hand  a scroll,  right  hand  resting  on  a marble  writing  table. 
He  stands  within  a circular  portico,  beside  a crimson  portiere,  and 
over  a stair  balustrade  at  the  left  the  Capitol  appears  in  the  distance, 
beneath  a sunset  sky. 

Signed  on  the  table,  J.  W.  Jarvis. 


JEREMIAH  THEUS 

American:  1719 — 1771< 


125— PORTRAIT  OF  A BOY  WITH  A BOG 

Height,  29’^  inches;  width,  25  inches 

Standing  figure  of  a bo}’,  nearly  at  full-length,  facing  the  spectator, 
very  slightly  turned  toward  the  left.  He  stands  before  the  base  of  a 
pillar,  which  is  on  the  right,  with  a landscape  background  on  the  left. 
On  a green  mound  which  is  as  high  as  his  belt,  in  front  of  him  and  to 
his  right,  lies  a brown  pet  dog  about  whose  neck  he  places  his  hands. 
He  is  a round-faced  and  rosy-cheeked  young  gentleman,  in  eighteenth 
century  costume  of  yellow-lined  blue  coat,  blue  breeches,  and  buff-brown 
under-coat  with  ornate  trimmings,  and  he  wears  a white  jabot  and  wig. 

On  the  stretcher  a paster,  “Died  single,  Samuel  Smethan,  born  . . . (paster 
torn)  son  of  Samuel  and  Elizabeth  Smethan.” 

Through  the  mis-copying  of  this  “horn”  as  “Bos,”  with  the  implication  of 
Boston,  an  idea  arose  that  this  was  a northern  portrait,  and  identity  of  the  persons 
mentioned  was  sought  in  the  North,  without  avail.  Hart,  on  the  strength  of  a 
photograph  and  the  paster  information  (he  had  not  seen  the  canvas),  attributing 
the  painting  to  Theus  with  confidence,  conjectured  that  the  portrait  had  been 
painted  on  a visit  made  by  Theus  to  the  North  about  18.50,  when  he  painted  the 
portrait  of  Caroline  Van  Voorhees  (Mrs.  Hendrick  Van  Buren),  No.  143,  of  this 
collection,  although  he  jiointed  out  that  the  palmetto  in  the  background  neutralized 
the  “bos.”  It  seems  clear  that  the  word  was  written  “born,”  so  that  a further 
search  may  reveal  the  sitter  as  belonging  to  the  precincts  of  Theus’s  best  known 
activities,  Charleston,  S.  C. 


JACOB  EICHHOLTZ 

American:  1776 — 1842 

126— J/iCV.  ARUNDEL 

Height,  30  inches;  leiclth,  25  inches 

TiiREE-auARTER.  leiigtli,  to  left,  three-quarters  front;  a middle-aged 
woman  of  agreeable  expression,  with  chestnut-brown  hair  parted 
smoothly  over  the  forehead,  curled  beside  the  temples,  and  enwound  in 
a white  kerchief  or  turban-like  cap.  She  is  in  black,  with  puffed 
sleeves,  and  a deep  ruffle  of  white  lace  about  her  neck.  Over  her  arm 
and  laj)  an  India  shawl.  Background  of  reddish-brown  curtain  and 
conventional  landscape. 

Jacob  Eichholtz  was  a native  of  Lancaster,  Pa.,  liorn  in  177().  When  Sully 
visited  that  home  of  Pennsylvania  art  and  invention  Eichholtz  offered  him  his 
painting  room,  and  Sully  in  recognition  gave  the  Lancastrian  some  of  his  brushes. 
Eichholtz  later  had  some  instruction  from  Stuart,  in  Boston.  He  painted  portraits 
of  prominent  persons  of  Lancaster  county,  and  died  in  Philadelphia.  His  portrait 
of  General  Andrew  Jackson,  seventh  President  of  the  L’nited  States  was  sold  in 
the  Thomas  B.  Clarke  Collection  of  Early  American  Portraits  last  year. 

Exhibited  at  the  Panama-Pacific  Exhibition,  San  Fr'ancisco,  1915. 


JACOB  EICHHOLTZ 

Amekicax:  1TT6 — 184'2 

V21—MR.  ARUNDEL  {Son  of  31.  S.  Arundel) 

Height,  30  inches;  width,  25  inches 

Half-length  figure  of  a young  man  of  dignified  mien,  seated  with 
figure  to  the  front  and  face  turned  slightly  toward  his  left  shoulder,  as 
he  rests  his  left  arm  and  white-gloved  hand  on  the  curved  arm  of  the 
red-upholstered  chair  or  sofa  upon  which  he  sits.  In  black  formal 
dress,  the  coat  with  shawl  collar,  white  choker  collar  and  stock.  He 
has  a rosy  complexion,  green-blue  eyes  and  dark  chestnut  hair,  which 
is  worn  in  engaging  disarray.  Hark  crimson  drapery  and  neutral  olive 
background. 

Exhibited  at  the  Panama-Pacific  Exhibition,  San  Francisco,  1915. 


SAISIUEI.  LOVETT  WALDO,  A.X.A. 

American:  1783 — 1861 


V2^-^W1LL1AM  STEELE  (1762-18.51) 

( Panel ) 

Height,  30  inches;  width,  21'-)4  inches 

Hal  F-EENGTii  ])ortrait  of  the  Revolutionary  hero,  in  blue-green  velvet 
coat  with  gilt  buttons  and  high-rolled  collar,  and  white  waistcoat  and 
stock.  He  is  seated  on  a carved-gilt  and  red-upholstered  side-chair,  to 
right,  three-quarters  front,  his  face  turned  almost  full  to  the  front  with 
alert  and  intent  glance.  Eyes  dark  ; bristling  gray  hair,  and  florid 
complexion  ; a high  light  on  the  brow.  He  holds  in  his  right  hand  an 
opened  letter.  Neutral  background. 

M'illiani  Steele,  who  was  born  in  Xew  York  in  17()2,  served  in  the  Revolutionary 
War.  In  1780,  while  hearing  desjiatehes  on  the  twenty-gun  .ship  .\urora,  which 
was  ca))tured  by  tlie  British  frigate  Iris,  he  was  wounded  during  the  battle,  .\fter 
being  held  for  some  months  a jirisoner,  he  was  exchanged.  He  married,  in  1791. 
a daughter  of  Jonathan  Dayton.  William  Steele's  father,  Stephens  Steele,  was  an 
active  Whig  in  Revolutionary  times,  and  on  the  British  capture  of  New  York  had 
to  abandon  his  home  and  a valuable  property. 

Shown  at  the  opening  exhibition  of  the  Brooklgn  Institute  of  Arts  and 
Sciences,  1897;  loaned  by  TP.  D.  Steele,  1'23  Montague  street, 
Brooklyn.  Exhibited  at  the  same  Brooklyn  Museum,  1917. 

From  the  collection  of  TIh  D.  Steele. 


JOHN  SIXGLETOX  COPLEY 

Amekicax:  1737 — 1815 


Vl^—MAJCm  JOHN  ANDRE  (17.51-1780) 

Height,  29  inches:  width,  25'^  inches 


The  young  and  gallant  Oritish  major  is  seen  in  uniform  and  hatted. 
ap])earing  at  a little  less  than  half-length,  with  figure  very  slightly 
turned  to  the  left  and  head  to  the  right.  His  face  is  observed  three- 
quarfers  front,  as  he  looks  with  bright,  alert  eye,  across  his  left  .shoul- 
der; his  clean-cut  features  are  finely  delineated;  the  flesh  is  warm  and 
fhe  cheeks  are  rosy.  An  inner  whife  sfock  overlaps  a black  one,  and 
his  white  jabot  and  scarlet  coat  collar  and  gold  epaulettes  relieve  the 
deep  blue-black  of  the  coat  itself.  Atmospheric  background  with, 
clouds,  in  ])olychrome  of  neufral  tones.  On  a ])aster  on  the  stretcher: 
“John  S.  Copley,  pinxt.,  1774.’' 

The  aspect,  in  the  ])ortrait,  of  the  man  to  whom  Benedict  Arnold  betrayed  the 
plans  of  AVest  Point,  accords  with  the  other  likenesses  of  him  which  were  ])opular 
on  both  sides  of  the  Atlantic  in  his  day.  And  he  looks  the  enthusiastic  and  con- 
fident character  exenqilified  romantically  a year  after  the  date  given  for  this 
canvas,  when,  taken  ])risoner  at  the  cai)itulation  of  St.  .John's  (1775),  and  stripped 
of  everything-  else,  he  concealed  in  his  mouth  the  picture  of  his  first  love  (though 
she  had  married,  in  England),  and  was  able  to  write:  “Preserving  this,  I yet  think 
myself  fortunate.”  liven  Washington  seemed  to  regret  the  necessity  of  executing 
iAndrc.  The  date  of  his  execution  was  October  3.  1780. 


JOHN  SMIBERT 

American:  1688 — 1751 


\m~BISHOP  GEORGE  BERKELEY  (1685-1753) 

Height,  29%  inches;  iciclth,  25%  inches 

The  enthusiastic  bislio]), — Dean  Berkeley  he  was  at  tlie  time — whose 
large  dreams  for  a universal  college  in  the  Bermudas  enlisted  the  per- 
sonal as  well  as  the  artistic  interest  of  Smibert,  is  presented  head  and 
bust — nearly  at  half-length — in  Ids  black  gown,  white  lawn  collarette 
and  great  curled  periwig.  With  figure  turned  slightly  to  right,  he  faces 
front,  looking  at  the  spectator  with  kindly  hazel  eyes  and  a beneficent 
official  smile,  his  comjilexion  showing  a pleasant  pinkish  warmth.  On 
a S(juare  canvas,  but  ])ainted  for  an  oval  frame.  Dark  background, 
especially  deep  within  the  oval. 

After  careful  examination  of  this  portrait  Cliarles  Henry  Hart  wrote  of  it: 
“Doiilitless  a contenijioraneous  re]ilica  of  the  canvas  in  the  Worcester  Art  ^luseuni, 
whicli  is  signed  and  dated  ‘Jo.  Smibert,  fc.,  17‘28.’  It  is  an  extremely  good  example 
of  Smibert  at  his  l)est.  and  ]>articularlv  interesting  from  the  close  relations  that 
existed  between  the  suliject  and  the  painter.” 

Smibert,  born  a Scot,  estalilished  himself  as  a successful  ]iortraitist  in  I.ondon 
at  the  age  of  thirty-two,  in  17‘20.  When,  eight  years  later,  Berkeley  relinquished 
his  deanery  of  Derry  to  establish  a universal  college  of  art  and  science  in  the 
Bermudas  and  for  the  benefit  of  all  the  .Vmericas,  he  induced  Smibert  to  accompany 
him  as  jirofessor  of  art.  They  landed  at  Newport,  January  ‘2:3,  172S  (O.  S.).  The 
dream  collajvsed,  the  dean  returned  home  and  became  Bishop  of  Clbyne;  Smibert 
became  the  leading  .Vmerican  portrait  ])ainter  of  Boston. 

A paster  on  the  stretcher  of  this  portrait  says:  '’"Bought  from  the  old 
Berleley  home  outside  Xexeport,  R.  I. — "Westzeard  the  course  of 
empire'  ...” 


ROBERT  EDGE  PINE 

American:  1780 — 1788 


WILLIAM  ASH  {circa  1800) 

Height,  30  inches;  zcidfh,  2174  inches 

Half-eength,  facing  front,  sliglitly  to  left ; seated,  in  a red-uphols- 
tered armchair.  A man  of  smiling  countenance,  and  a warmth  of  facial 
color  which  caused  the  portrait  to  be  attributed  for  man}'  years  to 
Gilbert  Stuart.  Black  coat,  and  white  neck-cloth  and  jabot,  and  gray 
wig.  Dark  brown  and  blackish  background. 

On  back:  “Mr.  William  Asli,  by  Gilbert  Stuart;  relined,  1916.” 

“The  accompanying  painting  is  of  my  great-grandfather,  "William  Ash,  who 
was  a gentleman  of  independent  means  living  in  Xew  York  City  and  vicinity  about 
1800.  He  had  a brother  Thomas  .\sh,  also  a gentleman  of  independent  means, 
having  a countiy  estate  at  Throgg's  Neck  on  I.ong  Island  Sounud.  This  picture 
was  jiainted  tor  "William  Ash  himself,  and  has  never  been  out  of  the  possession  of 
the  family.  It  was  presented  to  my  father,  the  late  John  C.  Ham  of  New  York 
City,  by  Mrs.  Ash,  widow  of  the  aforesaid  Thomas  .\sh,  and  given  to  me  hy  my 
father  at  the  time  of  my  marriage.  "We  have  always  understood  that  the  painting 
was  by  Gilbert  Stuart,  and  it  is  certainly  of  that  period.” — (INIrs.)  Josephine  H. 

68  "West  l()2nd  street. 

Hart,  with  the  above  memorandum  before  him  when  he  examined  the  canvas, 
declared  his  opinion  that  it  was  not  painted  by  Stuart  but  by  Pine. 

Pine  was  born  in  London  in  1730  (some  say  1742) ; he  came  here  in  1783  with  the 
idea  of  painting  heroes  of  the  Revolution,  but  was  unable  to  complete  that  task, 
owing  to  his  early  death.  He  painted  numerous  portraits  of  notables,  however,  and 
"Washington  has  recorded  his  pleasure  in  receiving  him.  for  the  jiainting  of  his 
portrait. 


JOHN  NEAGLE,  N.A. 

(Honorary  Member,  elected  1828) 
American:  1796 — 1865 


Vd'2— WASHINGTON  IBVING  (1783-1859) 

Height,  30  inches;  width,  25  inches 

Half-length,  seated,  to  left,  three-quarters  front.  The  distinguished 
author,  with  smooth  face,  dark  brown  hair  smoothed  clear  of  his  brow 
and  brought  carelessly  forward  beside  his  tenqiles,  is  in  eas3'-fitting 
black  coat  and  waistcoat,  his  loose  shirt-front  unadorned,  black  cravat 
and  loosely  fitting  choker  collar.  His  brown-blue  eyes  are  benign  and 
thoughtful,  and  his  features  express  his  cliaracteristic  geniality.  Neu- 
tral background  grayish  in  the  light  and  dark  in  .shadow. 

A note  on  tlie  well-beloved,  Ininioroiis,  eng'aging  and  serious  writer,  would  be 
almost  as  o-rntuitoiis  as  an  elementary  biography  of  the  distinguished  American 
whose  name  he  shared,  yet  the  reminder  may  be  |)ermitted  that  Washington  Irving 
was  as  well  known  in  England  as  in  .\meriea,  that  lie  told  England  in  language  of 
current  understanding  just  how  the  two  countries  stood  as  to  jiotentialities,  that 
interest  in  Siiain  did  not  interfere  with  his  interest  in  Washington,  and  that  lie 
knew  America  not  only  in  Knickerbocker  Xew  York  but  through  the  first  John 
Jacob  Astor  all  the  way  to  the  Pacific  Coast. 

John  Neagle  was  a Philadelphian;  lived  and  died  in  that  city,  although  a casual 
journey  of  his  jiarents  made  Boston  the  city  of  his  nativity.  He  married  Sully  s 
stepdaughter,  and  jiainted  “the  virile  men"  while  Stdly  jiainted  “the  pretty  women" 
of  the  City  of  Brotherly  I.ove.  He  went  to  Boston  and  painted  what  has  been 
called  the  best  ])ortrait  of  Cdlbert  Stuart. 


ROBERT  FULTON 

Ameuicax:  1767 — 1815 


Vd'd—BOliKRT  FULTON  (1767-1815) 

Height,  30  inches;  width,  25  inches 

This  self-])ortrait  rcjH’Csents  tlie  inventor  of  the  steamboat  at  half- 
length,  seated,  with  figure  slightly  to  right  and  face  very  slightly  to 
left;  blue  coat,  white  waistcoat  and  stock,  and  choker  collar;  buff 
breeches.  He  regards  the  observer,  with  ])reoccupied  exj^ression,  and 
holds  in  his  riglit  hand  a small  book,  finger  between  the  leaves  ; his  left 
hand  is  thrust  within  his  coat.  Conventional  landscape  background, 
with  a side-wheel  steamer  in  a river,  and  in  the  distance  a domed  struc- 
ture resembling  St.  Peter’s  at  Home  and  also  suggesting  the  Capitol 
at  Washington — and  hy  some  thought  to  be  from  a design  Fulton  is 
known  to  have  made  for  the  Ca])itol. 

On  hack  the  following  ]iaster.s:  “I,e  1(1  Aoiit  1S07,  le  'Claremont,'  bateau  a 
vajienr,  invente  par  Fulton,  citoyen  ainericain,  fit  son  premier  voyage  sur  riludson 
entre  New-York  & Alliany.  l.e  Claremont  mesurait  50  metres  de  long  sur  5 metres 
de  large.”  “The  above  writing  was  ])asted  on  the  back  of  this  portrait  and  was 
removed  by  me  to  reline  the  canvas.  I have  rej)laced  it  in  the  same  position  it 
occujiied  on  the  first  linen.  Joiix  B.  tViLivixsox,  Fhila.  May,  1910.” 

This  jiortrait  was  at  one  time  the  subject  of  a bitter  controversy,  particularly 
on  a declaration  or  confession  of  a former  holder  as  to  repainting  or  jiainting  over 
the  background.  Charles  Henry  Hart,  in  a signed  article  in  the  Yetc  Era  of 
l.ancaster,  Pa.,  November  30,  1912,  demolished  the  repainting  argument,  hy  announc- 
ing that  the  jticture  had  been  submitted  for  his  ojunion  some  years  previously,  that 
he  had  then  seen  that  the  entire  background  had  been  painted  over  and  a com- 
jiaratively  modern  walking-beam  steamer  introduced  (instead  of  Fulton's  paddle- 
box  type),  and  that  the  canvas  had  been  cleaned  and  relined  under  his  direction, 
revealing  the  true  background.  Y'ith  bis  usual  sledge-hammer  blows  Hart  demon- 
strated that  the  portrait  is  of  Fulton,  and  gave  his  opinion  that  it  is  hy  k'nlton. 
and  told  why.  'J'he  portrait  was  then  (1912)  in  a Lancaster  County  Portraiture 
Exhibition  (Lancaster  claiming  Fulton  as  its  most  eminent  son). 


m 


DANIEL  HUNTINGTON,  N.A. 

American:  1816 — 1906 

134— LOU/iV  AGASSIZ  (1807-1873) 

Height,  OOU  inches;  K'idth,  25  inches 

Head  ami  shoulders  portrait — nearly  a half-length — to  right,  three- 
quarters  front;  witli  a nebulous  sky  background  of  gray,  cream  and 
blue.  The  great  teacher  is  in  a gray  coat  with  dark  velvet  collar, 
white  waistcoat  and  shirt,  and  wears  a clioker  collar  enwound  in  a 
cream-white  stock  with  blue  dots  and  tied  in  a loose  knot.  A strong 
light  from  the  left  strikes  his  higli  brow  and  jiartly  bald  head  and  florid 
cheek.  His  hair  falls  long  and  loosel}’  nearly  to  his  shoulder  at  the 
back,  his  brilliant  eyes  have  an  intent  and  affable  far-away  gaze,  and 
the  lines  of  his  mouth  continue  the  smiling  suggestion  of  eyes  and  gen- 
eral countenance.  Agassiz’s  geniality  and  his  hearty  laugh  were  dwelt 
upon  by  Dr.  Oliver  Wendell  Holmes. 

Signed  at  the  loxcer  left,  “Agassiz,  by  D.  Huntington,  1857.” 


JAMES  i rothixgha:m 

Americax:  1781 — 1861 


im—GILBEUT  STUABT  (17.55-1828) 

Height,  .80  inches:  width,  21  inches 

Half-length  (without  the  hands)  seated,  to  left,  three-quarters  front, 
with  face  turned  well  to  the  front.  “The  master  j)ainter  of  Anierica,“ 
in  Hart’s  favorite  phrase,  which  some  painters  contradict  but  many 
amateurs  endorse  and  swear  by,  looks  out  at  the  observer  with  merry 
eve,  a smile  on  his  lips,  and  a very  vivid  and  vigorous  expression.  Stray 
locks  of  his  hair,  which  a])pears  dark,  curl  down  tlie  centre  of  his  fore- 
head. Complexion  warm.  He  sits  erect,  and  is  wearing  a black  coat 
and  waistcoat,  with  his  white  neck-clotli  tied  with  a light  flourish. 
Dark  neutral  background. 

“Am  of  tlie  o]iiiiion  that  it  was  painted  liy  .Tames  Frothingham,  circa  1810, 
wlien  the  great  artist  (Stuart)  was  about  fifty-five  years  of  age.  I consider  it  a 
very  characteristic  portrait  of  America’s  Master  Painter,  and  especially  interesting 
from  having  been  ])ainted  Ity  Frothingham,  who  was  one  of  Stuart's  earliest  students 
in  Boston,  and  who  made  many  of  the  best  copies  of  Stuart's  Washington  that  we 
liave.  The  canvas  shows  the  effect  of  the  suliject’s  teacliing  in  its  treatment.’’ — 
Charies  Henry  Hart.  “To  whom  it  may  concern,’’  New  York,  .\pril  26,  191". 


TIIOIMAS  SULLY 

American:  1783 — 1872 


\m—]{()Bi:RT  WALSH  OF  PHILADELPHIA 

( 1 78.  j- 18.5  8) 

Height,  30  inches;  iculth,  25  inches 

Half-eexgth  seated,  figure  to  front ; liead  to  left,  three-quarters  front. 
Portrait  of  a young  man  with  finel}’  chiseled  features  and  thoughtful 
eyes,  leaning  back  somewhat  and  supporting  his  head  upon  his  left 
hand,  with  elbow  resting  upon  a large  ojien  volume  on  a writing  table 
at  Ills  side.  His  thin  and  long  black  hair  takes  its  free  way  over  his 
brow  and  temples.  He  is  in  black,  witli  white  stock  and  waistcoat,  and 
gold  buttons.  Neutral  background  of  dark  reddish-brown. 

]?(il)ert  Wal.sh,  well-known  literary  man,  horn  Baltimore,  17S-5,  .son  of  Count 
Wal.sh,  an  Irishman  who  married  a Quakeress;  educated  at  the  Catholic  colleges  at 
Baltimore  and  Washington;  admitted  to  the  har  in  Philadelphia  in  ISOS,  hut  pre- 
vented hy  deafness  from  ])racti.sing.  A jiamphlet  of  large  proportions,  “I.etter  on 
the  Genius  and  Dis])o.sition.s  of  the  French  Government,”  jmhlished  in  ISll,  went 
through  twelve  editions  in  six  weeks  in  I.ondon.  Jeffrey  saying  of  it:  “We  must  learn 
to  love  the  Americans  when  they  send  us  such  hooks  as  this.”  Walsh  established 
the  first  (juarterly  journal  in  the  L’nited  States,  his  “American  Review  of  History 
and  Politics.”  He  died  in  1S.5S. 

Fainted  in  1814.  See  Sully  Register,  Xo.  177-5.  Purchased  from 
Henry  C.  Walsh  of  X eic  York  and  sold  to  Mr.  Smith. 


GILBERT  STUART,  X.A. 

(Honorary  Member,  elected  1827) 

Ameuicax:  1755 — 1828 

137—  UA RL  HA RRYMORE” 

Height,  30  inches:  width,  25  inches 

Half-length,  facing  the  front,  liead  directed  toward  the  riglit.  A 
smooth  and  rosy  faced  man  of  quiet  cx])ression,  in  gray  wig  and  dark 
coat  with  gilt  buttons  and  white  revers ; white  waistcoat,  stock  and 
jabot.  Brown  background  with  dark  red  drapery. 

This  canvas  is  guaranteed  as  a jjortrait  by  Stuart  by  !M.  Knoedler  & Co.,  and 
the  late  Charles  Henry  Hart  also  ])a.ssed  upon  it  several  years  ago,  declaring  it  a 
Stuart.  The  identity  of  the  sitter  has  not  been  satisfactorily  ascertained.  Knoedler 
& Co.  sold  the  jueture  as  a ])ortrait  of  “Admiral  Barrymore."  Hart  pointed  out 
that  the  sul)ject  is  not  in  a naval  uniform — which  would  not  he  a necessity,  thougli 
officers  were  customarily  jiainted  in  uniform.  He  mentioned  also  that  Stuart  did 
paint  .\dmiral  Barrington,  adding  that  tliis  was  not  that  officer.  Another  con- 
jecture that  the  jiortrait  was  of  I.ord  Barrymore  “the  Sporting  Earl"  (1709-1793), 
etched  by  Bowlandson,  was  not  borne  out.  But  tliat  the  jiainting  is  by  Stuart  (Hart 
thought  about  17S0)  is  not  contested. 

Exhibited  at  the  Worcester  Art  Mnsenin. 


GII.BERT  STUART,  X.A. 

(Honorary  Member,  elected  1827) 
Ameiucax:  1755 — 1828) 


138— .S/7?  BICHAIU)  ABKWBIGHT  (1732-1792) 

Height,  30  inches:  rcidth,  25  inches 

The  celebrated  inventor  of  the  revolutionary  cotton-spinning  machin- 
ery which  brought  great  wealth  to  England  and  benefited  the  world 
is  pictured  at  half-length,  seated,  figure  slightly  to  right  and  face  to 
left,  with  liglit  from  tlie  left  falling  full  upon  his  features.  He  is  in  a 
wliite  wig  heavily  curled,  gray  coat  with  large  gold  buttons,  and  brown 
waistcoat  barred  in  green  and  yellow ; white  neck-cloth.  Yellowisli- 
brown  background. 

“Sir  Richard  Arkwright  was  horn  at  Preston,  I.ancashire,  in  1732,  and  died  in 
1792.  Xotwithstanding-  the  obstacles  thrown  in  his  way  at  first  by  poverty  and 
want  of  mechanical  skill  to  reduce  his  inventions  to  jwactice,  and  afterwards  in- 
the  un]irinci]iled  invasion  of  his  rights  by  rival  manufacturers,  he  realized  a very 
large  fortune;  and  his  machines,  but  little  imjiroved  u])on,  have  been  the  means  of 
almost  innumeralile  fortunes  being  made  liy  others.  IMr.  .\rkwright  was  not 
l.nighted,  as  many  supjiose,  on  account  of  his  inventions,  but  on  the  occasion  of 
]iresenting  an  address  as  High  Sheriff  of  the  County  of  Derliv,  congratulating 
George  III  on  the  failure  of  the  attenpit  made  u])on  his  life  l)y  Margaret  Xicholson,“ 
— Maiixdek's  “Treasury  of  Riograjihy.” 

Exhibited  at  the  Worcester  Art  Mnscinn. 

Certified  hif  Vicars  Brothers,  Old  Bond  street,  London,  as  an  original 
by  Stuart  “and  no  replica  in  existence."  Believed  to  have  been 
painted  about  1784. 


GII.EERT  STUART,  X.A. 

(Honorary  Member,  elected  1827) 
Americax:  1755 — 1828) 


139— DANIEL  WEBSTER 

(GRACE  FI. ETCHER) 

Height,  291^4  inches;  width,  211/4  inches 

Half-length  seated,  to  right,  three-cjiiarters  front,  left  hand  resting 
against  the  seat-arm  and  right  concealed  beneath  a crimson  wrap  whicli 
falls  in  folds  about  her  elbows.  She  is  in  a gown  of  dark  turquoise-blue 
witli  a deep  neck-ruffle  of  white  lace  in  several  folds,  and  wears  gold 
jewelry.  A woman  thin  but  of  considerable  frame;  angular  face  with 
pinkish  cheeks,  and  gray  eyes  ; brown  hair  witli  ringlets  overhanging 
the  tem])les.  Uraj^ery  and  landscape  background  in  red-brown  and 
gray,  rose,  white  and  blue. 

Grace  Fletcher  was  horn  in  1781,  daughter  of  the  Rev.  Elijah  Fletcher  of 
Ilopkinton,  New  Hani])shire;  educated  at  Atkinson  Academy,  near  Haverhill;  in 

1807,  while  visiting  her  elder  sister  Rehecca,  wife  of  Israel  Webster  Kelly,  at 
Salisbury,  N.  PI.,  met  Daniel  Webster,  and  married  him  at  Salisbury  on  June  11, 

1808.  They  had  five  children.  She  was  with  him  for  years  in  Washington,  but 
soon  after  he  had  been  sent  to  the  Senate  she  was  taken  ill  in  New  York  on  her 
way  to  join  him,  and  died  January  21,  1828. 

The  portrait  of  iMrs.  Weh.ster  was  jiainted  about  181(i.  Shortly  before  Webster 
married  his  second  wife,  in  1829,  he  gave  the  portrait  to  the  first  wife's  sister 
Rehecca,  referred  to  above,  from  whom  it  passed  to  Webster's  son  Daniel  P^letcher 
Webster,  and  was  retained  by  his  wife  after  his  death.  At  the  close  of  her  peculiar 
career  which  ended  in  misfortune  the  jiortrait  was  lost  to  sight  for  a time;  its 
recovery  is  traced  in  information  supplied  to  Mr.  Smith  and  included  in  his  records. 


GILIJEKT  STUART,  X.A. 

(Honorary  Member,  elected  1827) 

Amekican:  1755—1828 

IW— MOSES  BROWN  (17(0-1820) 

(Panel) 

Height,  82  inches:  zcidth,  2574  inches 

H ALF-EEXGTH  to  left,  tliree-quarters  front,  the  face  more  fully  to  the 
front;  seated,  in  a gold-frame  armchair  with  deep  rose  u2)holstcry; 
grayish-olive  interior  wall  hackground.  A sandy-haired  man  with 
somewhat  florid  face,  clean-shaven  cxcejjt  for  short  side-whiskers,  and 
dark  blue  eyes  which  fix  ujion  the  observer  with  studious  scrutiny. 
Black  coat,  with  white  waistcoat,  jabot  and  cravat. 

Moses  Brown  of  Beverly,  Massachusetts,  a nieniber  of  the  famous  family  to 
which  the  State  of  Rhode  Island  considers  itself  so  much  indehted,  and  credited 
with  being  the  ])ioneer  in  the  introduction  of  cotton-spinning  machinery  in  New 
England,  was  horn  at  tValtham,  Massachusetts,  and  was  graduated  from  Harvard 
College  in  At  the  beginning  of  the  Revolution  he  recruited  a company, 

marched  to  the  Common,  was  ])resented  with  sword  and  belt  by  citizens,  com- 
missioned by  (lovernor  Hancock  and  jiroceeded  to  Washington.  He  was  in  the 
"Crossing  of  the  Delaware”  with  the  Beverly  and  Marblehead  troo])S,  under  M'ash- 
ington,  and  at  the  close  of  the  war  returned  to  Beverly.  I.ater  he  formally  turned 
over  to  the  authorities  his  sword  and  jiara])hernalia.  with  a diary  of  his  war  cxi)eri- 
ences.  He  at  once  entered  mercantile  life,  and  at  his  death  in  1S20  left  what  was 
in  those  days  a fortune,  upward  of  $1.50,000. 

“77(c  portrait  has  been  ou'tied  bg  the  folhm-ing  members  of  onr  fumihj: 
Moses  Brou'ti,  then  by  George  Broien  his  son:  then  by  Mary  Ellen 
Broicn,  the  daughter  of  George,  udio  gave  it  to  myself,  the  present 
oxi'iier.  Ella  Brown  Hitchings  {Mrs.  J.  TI'.  Hitchings),  East 
Sangns,  Massachusetts,  August  8,  1918.“ 

Exhibited  at  the  Boston  Museum  of  Fine  Art,  1887.  Exhibited  at  the 
Worcester  Art  Muse)im.  Exhibited  at  the  Washington  Centen- 
nial Loan  Exhibition,  Metropolitan  Opera  House,  Sew  York, 
1889.  Exhibited  at  the  Colonial  Exhibition,  Bhode  Island  Sehool 
of  Design  {one-hundred-and-fiftieth  eelebration) , Providence, 
19U. 


GILBERT  STUART,  N.A. 

(Honorary  Alember,  elected  1827) 
American:  1755 — 1828) 


\4>l— MATILDA  CAROLINE  CRUGER  (1776-1812) 

Height,  dOU  inches;  width,  281/4  inches 

This  stunning  portrait,  whicli  will  stand  up  in  any  portrait  group,  and 
wliicli  won  such  high  praise  from  the  chief  student  of  Stuart’s  work, 
presents  the  charming  young  lady  at  three-quarters  view,  figure  to  the 
front  and  head  turned  toward  her  right,  seated  in  a round-backed  arm- 
chair wliose  red  upholstery  is  finished  off  with  gilt  tacks.  She  is  seen 
before  an  olive  wall  with  a jianel  or  a paneled  window-shutter  in  grav  at 
the  left.  She  wears  a decollete  gown  of  pearl-white  with  a lace-flounced 
neckyoke,  tight  sleeves  with  lace  at  the  wrists,  and  a deep  sash  of  light 
blue  about  her  slender  waist.  A mass  of  soft  brown  hair  curls  about 
her  head,  witli  a long  ringlet  brought  over  one  shoulder.  Her  fine 
features  are  exjiressive  of  tlie  generous  and  genial  “smile  from  within.” 

Painted  in  1794. 

“The  largest  and  the  finest  pnrtrait  of  a woman  I have  ever  seen  or  known  of, 
j)ainted  l)y  Gilbert  Stnart." — Ciiaui.es  Hexiiy  H.aht. 

Matilda  C'aroline  Crnger,  horn  in  Bristol,  England,  1776;  daughter  of  Henry 
Cruger,  born  in  New  York  in  17.39,  who  went  to  England  and  was  elected  to  Parlia- 
ment in  1774,  where,  colleague  of  Edmund  Burke,  he  advocated  the  cause  of  his 
native  land  throughout  the  Revolutionary  War.  He  returned  to  New  York  in  1790, 
and  Miss  Cruger,  a year  after  her  portrait  was  painted,  married  I.awrence  Reid 
Yates,  whose  j)ortrait  Stuart  had  also  jiainted  in  the  same  year  as  hers  (1794 — 
Mason’s  “Life  and  Works  of  Gilbert  Stuart”).  The  portrait  of  iMr.  Yates  was  sold 
last  year  at  the  Thomas  B.  Clarke  sale.  ^Ir.  Yates  died  in  1796,  and  in  1800  the 
young  widow  married  her  cousin  Judge  Henry  Walton.  She  died  in  Charleston, 
S.  C.,  in  1812.  By  her  second  marriage  she  had  six  children.  Her  only  child  by 
her  first  marriage,  Caroline  Matilda  Yates,  married  .Tames  Taylor  of  Albany,  a 
widower;  she  died  in  1866,  leaving  her  mother’s  portrait  by  Stuart  to  her  step- 
daughter Maria,  wife  of  Asscx'iate  Justice  Ward  Hunt  of  the  United  States  Supi'eme 
Conrt,  for  life.  Mrs.  Ward  Hunt  died  July  8,  1912,  and  the  portrait,  under  iMrs. 
Taylor’s  will,  jtassed  to  Mrs.  Hunt’s  niece,  IMrs.  Phineas  P.  Hillhouse. 

“I  have  seen  and  studied  during  a period  of  fifty  years  more  portraits  painted 
by  Gilbert  Stuart  than  any  other  person,  and  my  survey  satisfied  me  that  as  great 
an  artist  as  Stuart  was  in  the  jiainting  of  robust,  virile  men,  he  was  a much  greater 
artist  in  the  delineation  of  beautiful  and  dainty  women  * * * If  I had  known  of 
the  portrait  of  Miss  Cruger  and  could  have  gotten  it,  it  would  have  been  the  Abou 
Ben  .\dhem  of  the  series  and  led  all  the  rest." — Ch-^ri.es  Henry  Hart,  in  a letter, 
April  4,  1917. 


JOHN  SINGLETON  COPLEY 

American  : 17*37 — 1815 

1 ^2— MRS.  DA  VIJNPORT : 

“LADY  DAVENPORT”  {circa  1800) 

Height,  11  iitchca;  zcidfh,  *301/).  inches 

Ax  affable  lady  with  read^v  smile  is  seen  at  thrcc-cjuarters  length,  stand- 
ing beside  a vase  of  tulijis,  for  one  of  wliieh  she  reaches;  she  clasps  tlic 
stem  liglitly,  her  right  forearm  being  extended  across  her  body  to  attain 
tlie  flower.  Figure  sliglitly  to  right,  she  faces  front,  before  a conven- 
tional background  of  gray,  brown  and  olive  notes.  She  has  florid 
cheeks  and  dark  hi'own  Iiair,  and  wears  a low-cut  gown  of  gray-brown 
satin,  generously  adorned  witli  silver  fringe  and  with  frills  and  flounces; 
flowing  sleeves  witli  lace,  and  lace-edged  corsage. 

Mrs.  ])aveii]K)rt  was  the  wife  of  .(ohn  Daven])()rt,  a silversmith  and  l)uekle- 
maker  of  Itostoii  who  removed  to  Portsmouth,  Xew  Hampshire,  wliere  for  iriany 
years  lie  was  town  constalile — whence  arose,  it  lias  been  rather  imaginatively  con- 
jeetiired,  the  title  “I.ady  Davenport”  by  which  the  subject  has  been  known  (possibly 
from  the  lady's  hearing  or  ])ersonality ) . Buckle-making  iiecoming  uniirofitahle  “by 
reason  of  tlie  introduction  of  shoestrings,”  Davenjiort  turned  his  jiremises  into  an 
inn,  according  to  information  obtained  liy  ISIr.  Smith  from  writings  of  IMiss  Abhie 
Watson,  late  of  Lowell,  Massachusetts,  and  a hook  “Ranililes  Around  Ports- 
mouth," which  says:  “On  Ash  Lane,  on  the  corner  of  State  street,  stood  the  Ark 
Tavern,  kejit  by  .John  Davenjiort.  * ♦ * Davenjiort  then  ojiened  his  jireniises  as  a 
jiuhlic  house  witli  the  sign  of  Noah's  Ark  and  denominated  h.is  house  Ark  Tavern, 
exhibiting  in  front  a fanciful  jiicture  of  an  ark.”  There  Mrs.  Davenjiort  died, 
“jirohahly  about  1818,”  according  to  information  given  Mr.  Smith,  “while  the 
Sujireme  Court  was  sitting,  in  February,  and  she  was  kejit  until  the  court  closed 
business  about  three  weeks  after.”  Miss  M’atson's  father  bought  the  jiortrait  as  a 
Cojilev,  in  Portsmouth,  some  eighty  years  ago. 

In  his  hook  “John  Singleton  Cojiley,”  Frank  W.  Bavley  of  Boston  lists  the 
Jiortrait  as  a Cojiley,  describing  it,  and  characterizing  it  as  “a  very  distinguished 
and  handsome  jiortrait  of  a lady  by  Cojiley,  the  subject  of  which  is  unknown." 
It  was  sulisequentiv  that  Mr.  Smith,  through  agents  sent  in  search,  obtained  the 
foregoing  information. 

Exhibited  at  the  Worcester  Art  Museum. 


JEREMIAH  THEUS 

American:  1719—1774 


HENDRICK  VAN  BUREN  (1730-1797); 

JVife  of  Dr.  Hendrick  J^an  Buren 

Height,  29'%  inches:  xvidth,  25  inches 

Three-quarter-length  standing  figure  of  a bright-eved  and  blond 
young  Moinan  facing  tbe  spectator,  head  turned  a bit  to  lier  right, 
whence  the  liglit  comes,  envelo])ing  the  entire  figure.  Her  oval  face  is 
crowned  by  brown  hair  brushed  loosely  hut  smoothly  back,  and  decked 
over  tlic  centre  of  tlie  forehead  with  a how  and  red  posies.  She  is  in 
blue,  with  heavy  silver  embroidery,  the  bodice  tight  and  decollete,  with 
lace-frilled  elbow  sleeves,  and  the  skirt  standing  out  in  bulging  hi])- 
folds.  Slie  holds  a jiink  rose  at  her  breast.  Gray  background. 

Painted  about  17.50. 

On  hack:  “Mrs.  Hendrick  Van  Buren  (Catharine  A'an  ^'oorhees)  1720-1797, 
hy  Jereniiali  Theus.” 

From  Charles  Henry  Hart,  who  wrote  Mr.  Smith:  “The  portrait  you  own  came 
direct  from  tlie  subject’s  family  and  is  one  of  .Teremiah  Theus’s  very  good  works, 
such  as  are  only  seen  in  some  of  the  old  families  of  South  Carolina  and  Oeorgia. 
* * * I feel  you  may  consider  yourself  very  fortunate  in  the  ownershij)  of  this 
])ortrait,  as  it  is  the  only  example  of  a Theus  jiortrait  I have  ever  known  to  he 
sold,  they  being  cherished  heirlooms  in  the  families  of  the  sitters.” 

That  letter  is  dated  May  22,  1917.  In  January,  1919,  a jiortrait  of  a man  hy 
Theus,  Alexander  Broughton  of  South  Carolina,  was  sold  in  the  Thomas  B.  Clarke 
Collection  of  Early  American  Portraits.  (American  Art  .Vssociation;  Plaza  Hotel, 
January  7,  1919.) 

Theus  was  well  known  in  his  day,  and  after  a jieriod  of  obscurity  is  becoming 
so  once  more.  He  reached  South  Carolina  in  17:39  from  Switzerland,  and  so  well 
did  he  jiaint  that  during  the  decades  of  his  occultation  his  jiortraits  have  in  the 
main  been  attributed  to  Cojiley. 


RALPH  EARL 

American:  1751 — 1801 


14^4^— MRS.  NATHANIEL  GARDNER, 

OF  GROTON,  MASSACHUSETTS 

Height,  30  inches;  width,  25  inches 

• 

Half-length,  seated,  facing  the  spectator,  a strong  light  from  the 
left  illumining  her  features  and  her  cream  and  rose  breast,  as  she  sits  in 
a lilac-hued  silken  gown,  decollete,  wdth  lace-edged  corsage;  lace  frills 
at  her  wrists  and  a creamy-white  lace  drapery  enwrapping  her  shoul- 
ders. Her  abundant  dark  brown  hair  is  worn  in  an  elaborate  dress, 
spread  and  massed  about  her  face  and  head,  and  it  is  looped  with  pearls 
and  crowned  b}^  nodding  ostrich-plumes.  She  is  seated  on  a dark  green 
sofa,  against  a neutral  background  of  brownish  notes. 

Mrs.  Gardner  was  the  second  wife  of  Nathaniel  Gardner,  of  Boston  and 
Groton,  whose  portrait  appears  in  the  collection  as  a conij)anion  to  this  one;  both 
were  painted  in  the  same  year  by  the  same  artist.  For  biographical  notes  see  the 
portrait  of  Mr.  Gardner.  Mrs.  Gardner  was  Miss  Mary  Ann  Lewis. 

Painted  in  1798.  In  original  carved  wood  frame  designed  by  Paul  Revere. 

Ralph  Earl  was  born  at  Leicester,  Mass.,  May  11,  1751;  his  father  was  among 
those  who  marched  to  I.exington  with  the  Governor's  Guards.  He  painted  Revo- 
lutionary scenes  which  were  engraved  by  Amos  Doolittle,  and  he  died  at  Bolton, 
Conn.,  in  1801.  M'hile  he  was  in  England  studying  under  Benjamin  West,  M'est 
obtained  for  him  a royal  commission  to  paint  the  king,  George  III. 


RALPH  EARL 

American:  1751 — 1801 


14>5— NATHANIEL  GARDNER,  OF  GROTON, 

MASSACHUSETTS  ( 1757-1800 ) 

Height,  30  inches;  xi'klth,  25  inches 

Short  half-length,  the  hands  not  included,  turned  slightly  to  right  with 
eyes  front,  the  eyes  blue,  M’ith  a vague,  reflective  expression;  aquiline 
nose  and  thin,  firm  lips;  florid  countenance,  and  a wig  su])pleinenting 
powdered  hair  banged  low  over  the  brow.  A man  of  maturity  beyond 
his  years,  in  a dark  crimson  coat  with  rose  revers  and  waistcoat,  and 
white  stock  and  jabot.  Observed  against  a blackish  background  with 
a single  grayish-olive  area  of  relief.  (It  has  been  observed  that  the 
face  suggests  certain  portraits  of  Washington.) 

Nathaniel  Gardner  the  son  of  Thomas  (born  1728);  great-great-grandson  of 
Thomas  (born  in  England  in  1641),  who  settled  in  Roxhury,  Massachusetts,  where 
his  great-great-grandson  was  born  in  1757.  Nathaniel  married  in  1782  Polly 
Berry,  who  died  in  1786  leaving  two  daughters.  In  1787  he  married  Mary  Ann 
Lewis  (whose  portrait  accom])anies  his  own  in  this  collection),  by  whom  he  had  a 
son  and  daughter.  They  lived  in  Boston,  attending  the  Hollis  street  Meeting 
House,  afterward  moving  to  Groton,  where  they  maintained  an  estate  and  where 
Nathaniel  died  in  1800.  In  1798  in  a letter  to  a member  of  his  family  he  refers 
to  the  beautiful  j)ortraits  of  his  wife  and  himself,  just  received,  painted  by  his  old 
friend  Earl.  Earl  was  a native  of  Leicester,  where  Gardner  also  had  other  friends, 
two  of  whom  he  appointed  guardians  of  his  four  children. 

Ralph  Earl,  who  was  painting  portraits  in  Leicester  in  1771,  followed  Copley 
to  I.ondon  in  1774,  studied  under  M’est  and  was  admitted  to  the  Royal  Academy, 
and  painted  a portrait  of  George  HI  for  "Windsor  Castle,  being  recommended  to 
the  king  for  the  commission  while  Copley,  Stuart  and  Mather  Brown  were  all  in 
England.  He  returned  to  Connecticut  in  1786,  and  the  next  year  Alexander 
Hamilton  found  him  in  jail  for  debt  in  New  York  City,  and  secured  for  him  com- 
missions which  enabled  his  release.  He  painted,  besides  portraits,  four  Revolutionary 
scenes  which  Amos  Doolittle  engraved. 


JOHX  WESLEY  JARVIS 

American:  1780 — 1839 


\4>Q~PORTRAlT  OF  A MAN 

( Panel) 

Height,  30  inches;  width,  21%  inches 

Half-length  seated,  facing  the  observer,  with  a slight  turn  toward 
the  right ; a stout  man  in  youthful  maturity,  with  keen  e^’es  and  warm 
color,  his  dark  brownish  hair  worn  carelessly,  falling  easily  about  brow 
and  temple,  and  short  but  equally  wandering  side-whiskers  continuing 
below  it.  He  wears  a black  coat  and  creamy-white  waistcoat,  and  white 
ruffled  shirt,  and  a wing  collar  spreads  its  white  folds  over  his  black 
stock.  His  right  hand  is  in  view,  resting  on  the  arm  of  his  chair. 


CHESTER  HARDING 

American  : 1 7 92 — 1 866 


\^1—MRS.  THOMAS  BREWSTER  COOLIDGE 

Height,  35  inches;  width,  28  inches 

Half-length,  standing,  facing  front  with  a slight  inclination  toward 
the  right ; in  outdoor  costume,  an  ermine-lined  gray  silk  cloak  covering 
a rich  olive  gown  ; pale  lemon-yellow  gloves  and  black  plume-laden  hat 
with  white  lace  beneath  it.  A woman  still  young,  with  warm  complex- 
ion and  sad,  pale  e^ms,  and  brown  hair  which  is  worn  in  heavy  curls 
beside  the  temples.  Neutral  background  of  olive-gray  and  brown. 

Mrs.  Thomas  Brewster  Coolidge  was  Clarissa  Baldwin,  daughter  of  Colonel 
Loanii  Baldwin  of  the  Twenty-sixth  Massachusetts  regiment  of  the  Continental 
Army,  who  originated  the  Baldwin  apple.  This  portrait  descended  to  Benjamin 
Coolidge,  the  eldest  son  of  Mrs.  Coolidge,  and  to  his  son  Baldwin  Coolidge,  who 
sold  it  to  the  Boston  dealer  from  whom  Mr.  Smith  acquired  it.  Chester  Harding 
also  painted  two  portraits  of  Mrs.  Coolidge's  brother  Loami  Baldwin,  Jr.,  one  of 
which  is  in  the  Baldwin  mansion  at  M'oburn,  Massachusetts,  and  the  other  in  the 
Engineers’  Club,  Boston. 

Chester  Harding,  born  in  Conway,  Mass.,  in  1792,  had  a picturesque  and  erratic 
career.  He  was  a jack-of-all-trades  in  early  life,  painted  houses  and  signs  as 
far  away  as  Pittsburgh,  went  to  Kentucky  and  worked  as  a professional  portrait 
painter  there,  and  got  together  enough  money  to  move  to  Philadelphia  and  begin  to 
study  in  earnest.  He  went  back  to  St.  Louis,  and  in  1818  journeyed  a hundred 
miles  into  the  woods  to  paint  a portrait  of  Daniel  Boone,  which  is  now  in  the 
collection  of  Mr.  Herbert  L.  Pratt.  A decade  later  he  was  a fashionable  painter 
of  women’s  portraits  in  Boston,  where  he  died  in  1866. 


JONATHAN  BLACKBURN 

American:  (Circa)  1700 — 1765 


U8—MRS.  JOSHUA  BABCOCK  (1714-1778) 

Height,  45  inches;  width,  361/2  inches 

Three-quarter  length,  seated,  to  left,  three-quarters  front.  In  blue 
decollete  gown,  the  bodice  tight  and  decked  with  pearls  and  the  elbow 
sleeves  caught  up  with  pearls ; lawn  undersleeves ; skirt  loose,  in  heavy 
folds.  An  orange  drapery  thrown  over  a balcony  railing,  and  encircling 
her  back,  falls  lights  upon  her  right  knee,  and  she  rests  her  hand  on 
it,  holding  a nasturtium.  With  head  held  noticeably  erect  and  firm, 
she  looks  straight  forward,  past  the  spectator.  Cheeks  rosy ; brovm 
hair  bound  with  pearls.  Conventional  landscape  background,  with 
cypress  and  other  trees. 

Mrs.  Joshua  Babcock  (Hannah  Stanton)  was  the  wife  of  Joshua  Babcock, 
Chief  Justice  of  Rhode  Island. 

Jonathan  Blackburn  was  born  in  Connecticut,  the  son  of  a painter;  had  a 
studio  in  Boston  17.50-1765;  is  mentioned  by  Dunlap  as  a contemporary  of  Smibert, 
and  by  Tuckerman  as  having  executed  notable  portraits  in  Boston,  Portsmouth, 
N.  H.,  and  other  New  England  cities.  Represented  in  the  Public  Library,  I^exing- 
ton.  Mass.,  and  the  Massachusetts  Historical  Society,  but  most  of  his  portraits  are 
I)rivately  owned,  the  majority  in  Boston.  It  is  said  that  he  quit  his  Boston  studio 
from  jealousy  of  Copley.  “He  was  a good  portrait  painter,  and  some  of  his  pictures 
were  long  attributed  to  Copley.” — Ennjclopcedia  Britannica. 

Exhibited,  Metropolitan  Museum  of  Art,  1911;  Brooklyn  Institute  of 
Arts  and  Sciences,  1917. 

Reproduced  in  Babcock  Genealogy,  1903;  Updike's  “History  of  the 
Episcopal  Church  in  Xarragansett,"  1907. 

Descent  of  the  portrait:  Mrs.  Babcock  (1714-1778)  to  her  son  Adam 
(1740-1817);  to  his  son  William  (1764-1840);  to  his  daughter 
Elizabeth  (1817-1903),  wife  of  Rex'.  S.  S.  Mathews;  to  her  daugh- 
ter Martha  (1841-1900),  wife  of  Dr.  R.  J.  Pray;  to  her  daughter 
Mary  (1873-1903);  to  her  uncle  the  Rev.  Samuel  S.  Mathews 
(1847-1910)  ; to  his  daughter  Anna  Elizabeth  Mathews  Richard- 
son of  Roxbury,  from  whom  it  was  purchased  by  Mr.  Clarence  S. 
Brigham  of  Worcester;  thence  to  William  Macbeth  of  Xrw  York, 
from  whom  Mr.  Smith  bought  it. 


JOHX  NEAGLE,  X.A. 

(Honorary  Member,  elected  1828) 

American  : 1796 — 1865 

149— NEAGLE  {MRS.  JOHN  DICKSON) 

Height,  301^  inches;  icidth,  25^^  inches 

Ha  LF-LENGTH,  Seated ; ver}'  slighth'  to  left.  A mature  3’oung  woman 
in  a rich  black  gown,  with  broad  shoulder-collar  of  white  lace,  and 
white  lace  cap  with  long  lace  strings.  Dark  hair  and  e^^es,  and  warm 
complexion.  She  looks  at  the  observer,  with  a quiet,  smiling  expression. 
Shadowed  background. 

On  back:  Painted  by  John  Neagle,  Phila.,  1834. 

Considered  “one  of  his  father’s  finest  female  portraits,"  by  Garrett  C.  Neagle, 
from  whom  it  was  obtained  by  Gilbert  S.  Parker,  a personal  friend,  who  sold  it 
to  Mrs.  Anna  P.  Bly,  from  whom  it  ]iassed,  through  a dealer's  hands,  to  Mr.  Smith. 

John  Neagle  was  born  in  Boston  of  Philadelphia  parents  who  were  there  on  a 
visit;  he  lived  in  Philadelphia  and  died  there.  He  wedded  Thomas  Sully’s  step- 
daughter and  niece,  and  it  has  been  said  that  while  Sully  “painted  the  pretty 
women”  of  the  city  by  the  Schuylkill,  Neagle  “painted  the  virile  men.”  He  painted 
in  Boston  what  has  been  called  the  best  portrait  we  have  of  Gilbert  Stuart;  so  at 
least  Hart  regarded  it. 


ASHER  BROWN  DURAND,  P.N.A. 

American:  1796 — 1886 

150— 3/7?^.  WINFIELD  SCOTT  (1787-1866) 

Height,  Si  inches;  width,  27  inches 

Three-quarter  length  seated,  face  to  the  front  and  figure  slightly  to 
the  left ; a dark-eyed  young  woman  with  creamy  complexion  and  black 
hair,  who  does  not  look  the  years  which  the  date  on  the  canvas  gives 
her  (44).  Decollete  govm  of  creamy-brown,  the  corsage  lace-edged, 
with  short  puff  sleeves,  and  voluminous  secondary  sleeves  of  white  gauze 
coming  to  the  wrists.  Her  right  arm  rests  on  a marble-top  table,  be- 
side a crimson  daldia,  and  she  holds  a pale  purplish  dahlia  in  her  hand. 
The  background  includes  a river  landscape  suggesting  the  Highlands 
of  the  Hudson  or  the  Staten  Island  hills. 

Signed  at  the  lower  left,  A.  B.  D.,  1831. 

Mrs.  Winfield  Scott  (Maria  Mayo),  wife  of  General  Winfield  Scott,  was  a 
daughter  of  John  Mayo,  Esq.,  of  Richmond,  Virginia. 

Exhibited  at  the  Brooklyn  Institute  of  Arts  and  Sciences,  1917. 


CHARLES  LORIXG  ELLIOTT,  N.A. 

Amekican:  1812 — 1868 


\5l—P01lTRAIT  OF  AN 

UNIDENTIFIED  YOUNG  MAN 

Height,  36  inches;  width,  28  inches 

Three-uuarter-length  standing  dgure  of  a well-set-np  young  man 
with  clcan-cut  features,  (juiet  brown  eyes  and  bushy  dark  brown  hair; 
he  faces  slightly  toward  the  right,  with  riglit  arm  akimbo  with  a rest 
on  an  abutting  balustrade.  He  is  in  black,  with  white  waistcoat  and  a 
ricli  black  neck-cloth,  in  the  fashion  of  the  second  quarter  of  tlie  nine- 
teenth century,  and  he  wears  as  an  outer  coat  a rich  fabric  of  a soft 
golden-brown  hue.  Painted  as  a “poi'trait  of  a portrait” — the  subject 
seen  as  painted  against  a sky  background  within  an  oval  frame,  the 
whole  on  a rectilinear  canvas. 

Instead  of  declaring  according  to  his  custom  that  “in  my  opinion  it  is,”  Charles 
Henry  Hart  wrote  of  this  ])ortrait  to  James  P.  Labey  of  Xew  York  of  whom  Mr. 
Srnitli  purchased  it  that  it  “is  jiainted  by  Charles  L.  Elliott  (1812-1868)  who  was 
the  successor  of  Inman  as  easily  the  best  portrait  painter  in  the  country  for  a 
score  of  years  prior  to  the  Civil  War.  This  portrait  is  a fine  example  of  Elliott’s 
work  circa  1840,  beautifullv  handled  with  much  charm  in  its  color,  treatment  and 
expression,  that  belong  essentially  to  Elliott’s  hand.  I consider  it  a most  desirable 
example  of  the  work  of  this  excellent  painter.” 


Attkibutki)  to 
EDWARD  SAVAGE 
Americax  : 1761 — 1817 


152— GEORGE  WASHINGTON  AND  FAMILY 

Height,  25  inches;  length,  30  inches 

A SMATL  painting,  its  composition  that  of  the  large  canvas  owned  by 
the  Democratic  Club — widely  known  for  generations.  A canvas  painted 
(if  by  Savage,  as  is  believed)  by  one  of  the  painters  who  painted  Gen- 
eral Washington  and  Mrs.  Washington  during  their  lifetime  (although 
their  portraits  in  the  large  “Family”  group  were  not  from  life  but  from 
Savage’s  own  earlier  originals).  In  the  small  picture  liere  the  General 
in  his  dark  blue  and  buff  military  uniform  sits  at  left,  with  right  arm 
on  the  Custis  boy’s  shoulder,  left  hand  on  a chart  the  other  end  of 
which  is  held  by  Mrs.  Washington,  who  is  sitting  opposite  him  on  the 
right ; Eleanor  Custis,  standing  back  of  her,  also  takes  hold  of  the 
chart.  Behind  Mrs.  Washington  stands  the  negro  servant  Billy  I^ee. 
Scene,  the  portico  of  Mount  Vernon,  with  red  draperies,  and  in  tlie 
distance  the  Potomac  at  sunset. 

Edward  Savage  was  born  at  Princeton,  tt'orcester  county,  Massachusetts, 
where  he  died;  son  of  Seth;  grandson  of  Edward  who  came  from  Ireland  in  1696. 
The  grandfather  Edward  was  son  of  Abraham  Sauvage,  who  had  been  driven  to 
Ireland  from  St.  Algis,  Picardy,  by  the  revocation  of  the  Edict  of  Nantes.  Edward 
the  grandson  came  to  New  York  at  the  age  of  twenty-eight  with  a letter  from  the 
President  of  Harvard  requesting  Washington  to  sit  for  a portrait  for  the  Uni- 
versity; Washington  did  so.  (Washington’s  Diary  1789-90.)  In  1791  Savage  went 
to  London;  studied  under  West;  became  an  accomplished  stipple  engraver;  returned 
to  Boston;  settled  in  Philadelphia  after  179-1;  issued  numerous  plates  after  his  own 
paintings  of  famous  men  and  women,  including  the  “Washing^ton  Family”  so 
well  known,  which  was  published  in  1798.  Early  in  the  nineteenth  century  Savage 
returned  to  live  in  Massachusetts. 


COLONEL  JOHN  TRUMBULL 

American  : 1 7 56 — 1 843 


\5^—S01lTlE  FROM  GIBRALTAR 

Height,  20  inches;  length,  30  inches 

The  historic  military  episode  the  oral  recital  of  which  so  greatly  im- 
pressed Col.  Trumbull  that  he  was  impelled  not  onU  to  paint  it  but  to 
paint  it  five  times,  is  pictured  in  a representation  of  more  than  fifty 
figures,  a score  of  them  carried  to  fine  detail  and  the  principal  charac- 
ters portraits.  In  a night  landscape  lightened  by  a brilliant  and  lurid 
conflagration — as  the  tragic  event  and  its  vivid  pictorial  contrasts  were 
related  to  the  painter.  The  Spanish  hero  prone,  poniard  in  hand,  as 
lie  looks  back  toward  the  slaughter  and  flames  at  the  left,  raises  an  arm 
before  the  British  officers  ivho  stand  grouped  before  him  at  the  right. 
In  the  background  at  tlie  right  the  British  colors,  and  at  the  left  forces 
fighting  in  the  firelight  and  the  flames. 

“In  May  of  this  year  (1787)  ]M.  Poggi  told  me  the  story  of  the  sortie  from 
Gibraltar,  which  had  taken  place  in  1781.  We  were  walking  in  Oxford  street,  in 
early  twilight.  I went  to  my  lodgings,  and  before  I slept  put  upon  paper  a small 
sketch  of  the  scene,  now  in  the  possession  of  the  .Vthenenm,  Boston.” — Trumbull’s 
Autobiography. 

Trumbull  first  painted  the  picture  on  a canvas  fourteen  inches  by  twenty-one, 
which  he  presented  to  West;  finding  he  had  made  a mistake  in  the  uniform  of  the 
principal  figure  he  painted  a second  canvas,  twenty  inches  by  thirty,  which  was 
sold  to  Sir  Thomas  Baring  for  five  hundred  guineas.  It  is  this  canvas  which  is  in 
the  present  collection.  It  was  finished  in  1788.  His  third  and  largest  canvas, 
finished  the  following  year,  is  the  one  now  in  the  Boston  Museum  of  Fine  Arts. 
His  fourth  he  retained,  it  was  inherited  by  his  niece,  and  is  now  owned  by  Mrs. 
C.  L.  F.  Robinson  of  Hartford.  The  fifth  is  now  in  the  collection  of  Herbert  L. 
Pratt  of  New  York.  The  sizes  of  the  third,  fourth  and  fifth  canvases  are  respectively, 
72  by  108  inches,  371/3  by  581/3  inches,  and  35  by  53  inches. 


LIST  OF  ARTISTS  REPRESENTED  AND 
TRIER  WORKS 


'4''' 


LIST  OF  ARTISTS  REPRESENTED 
AND  THEIR  WORKS 

CATALOGUE 

NUMBER 


ALEXANDER,  Francis 

John  L.  Gould  28 

Master  Lord  31 

Portrait  of  a Lady  52 

AMES,  Ezra 

N.  Allen,  Esq.  57 

AUDUBON,  John  James 

Miss  Audubon  32 

Birds  33 

BADGER,  Joseph 

Captain  John  Larrabee,  Lieutenant  of  Castle 

William  79 

BANNING,  William  J. 

Samuel  Waldo  (1783-1861)  35 

BEECHEY,  Sir  William,  R.A. 

Beggars  at  a Cottage  Door:  Scene  near  Dover, 

England  18 

Portrait  of  a Naval  Officer  97 

BENBRIDGE,  Henry 

Portrait  of  a Man  54 

BIRCH,  Thomas,  N.A. 

The  Shipwreck  77 

BLACKBURN,  Jonathan 

Mrs.  Joshua  Babcock  (1714-1778)  148 


CATALOGUE 

NUMBER 


BRIDGES,  Charles 

Portrait  of  a Lady  64 

liROWN,  iNlATHER 

Portrait  of  a iMan  .58 

BRUSH,  George  De  Forest,  N.A. 

The  Weaver  24 

BYZANTINE  SCHOOL 

An  Ikon:  The  iMadonna  and  Child  2 

COIJ^j,  John,  Jr. 

Portrait  of  a IMan  10 

CONSTABLE,  John,  K.A. 

A I.andscaj)e:  Sun  and  Shower  84 

Flatford  Lock  88 

COPIjEY,  John  Singleton 

Gawen  Brown  (1719-1801)  122 

Major  John  Andre  (17.51-1780)  129 

jMrs.  Davenport:  ‘T.,ady  Davenport”  {circa 

1800)  142 

COTES,  Francis,  li.A. 

Portrait  of  iMiss  Anna  Williams  93 

Portrait  of  a Lady  98 

CROME  (OLD  CROME),  John 

Part  of  a Forest  21 

Yarmouth  Beach  83 

The  Mill  86 

DICKINSON,  Anson 

Portrait  of  a Lady  49 


CATALOGUE 

NUMBER 


DOUGHTY,  Thomas 

Landscape  with  Figures  12 

Landscape  with  Figure  22 

Landscape  23 

DUNLAP,  William,  N.A. 

Captain  AYatson  53 

DURAND,  Asher  Brown,  F.N.A. 

Mrs.  Winfield  Scott  (1787-1866)  150 

EARL,  Ralph 

jMrs.  Nathaniel  Gardner,  of  Groton,  Massa- 

ehusetts  144 

Nathaniel  Gardner,  of  Groton,  Massachusetts 

(1757-1800)  145 

EICHHOLTZ,  Jacob 

IMrs.  Arundel  126 

Mr.  Arundel  (Son  of  M.  S.  Arundel)  127 

ELLIOTT,  C HARLES  LoRING,  JY.A. 

Portrait  of  an  LTiidentified  Young  Man  151 

ENGLISH  SCHOOL 

Portrait  of  an  Eeclesiastic  69 

A Child  with  a Squirrel  70 

ETTY,  AVilliam,  R.A. 

A Nude  19 

FISHER,  Alvan 

River  Landscape  with  Horseman  71 

FRAZER,  OLrniR 

Portrait  of  a Lady  39 

Portrait  of  a Man  40 


CATALOGUE 

NUMBER 


FROTHINGHAM,  James 

Mrs.  Phinias  Carlton  41 

Gilbert  Stuart  (1755-1828)  135 

FULTON,  Robert 

Robert  Fulton  (1767-1815)  133 

FURNESS,  John  Mason 

John  Vinal:  “Master  Vinal”  (1736-1823)  46 

GAINSBOROUGH,  Thomas,  B.A. 

A Landseape  85 

Portrait  of  Mrs.  Cockburn  of  Roehester  99 

GREENWOOD,  Ethan  Allen 

Portrait  of  an  Unidentified  IMan  38 

Portrait  of  a JMan  68 

GREENWOOD,  John 

William  I.,ynde,  Esq.  (1710-)  63 

HARDING,  Chester 

Mrs.  Thomas  Brewster  Coolidge  147 

HART,  George  D. 

“Old  Ironsides”  78 

HESSELIUS,  Gustavus 

John  Leeds  (1705-1790)  11 

HOGARTH,  William 

Miss  Pert:  A Conversation  Piece  89 

HOGARTH  {Attributed  to) 

A Conversation  Piece  66 

HOGARTH  {Manner  of) 

An  Interior 


14 


CATALOGUE 

NUMBER 


HOGARTH  {Period  of) 

An  Artist  in  Contemplation  16 

HOMER,  Winslow,  N.A. 

The  Cock  Fight  25 

HOPPNER,  John,  R.A. 

Portrait  of  the  Countess  of  Euston  95 

Portrait  of  Sir  George  Beaumont  101 

Portrait  of  Miss  Home  (“The  Girl  with  the 

Kitten”)  103 

HUBARD,  William  James 

John  Marshall  (1755-1835)  119 

HUDSON,  Thomas 

Portrait  of  a Young  Woman  107 

HUNTINGTON,  Daniel,  N.A. 

Louis  Agassiz  (1807-1873)  134 

INMAN,  Hene.y,  N.A. 

Portrait  of  a Man  6 

Portrait  of  the  Artist’s  Father  29 

Mrs.  Elizabeth  Oakes  Smith, 

71 A Prince  (1806-1893)  113 

JARVIS,  John  Wesley 

Daniel  Dewey  Barnard  (1797-1861)  117 

President  Washington  124 

Portrait  of  a Man  146 

JOHNSON,  Henrietta 

Lady  Johnson,  Wife  of  Sir  Nathaniel  Johnson  47 

Governor  Sir  Nathaniel  Johnson  (1644-1712)  48 


CATALOGUE 

NUMBER 


JOUETT,  Matthew  Hakkis 

Frances  Berryman  ^IcKinney 

(Mrs.  James  G.  jMcKinney)  .50 
John  G.  McKinney,  Jr.  51 

Doctor  William  S.  Waller  of  Kentucky  .56 

KXELLEB,  SiE  Godfeey 

Portrait  of  Mrs.  King  108 

KYLE,  Joseph,  A.N.A. 

Portrait  Group  72 

LAXDSEEB,  Sie  Edwin  H.,  R.A. 

The  Return  from  Hawking  20 

LAWRENCE,  Sie  Thomas,  F.li.A. 

Portrait  of  the  Rt.  Hon.  George  Canning  96 

Portrait  of  JMarie  Clotilde  JMotte  et  de  la 

Fontaine,  Lady  Russell  104 

LEIA^,  Sie  Petee 

Portrait  of  a Young  Lady  74 

Portrait  of  Barbara  Yilliers,  Duchess  of  Cleve- 
land 109 

METCALF,  Eliab 

Portrait  of  a Gentleman  61 

MORLAND,  Geoege 

Seascape  13 

A Farm  Hand  Resting  15 

Rural  Gossips  81 

IMORSE,  Samuel  Finley  Beeeze,  P.X.A. 

“Frederick  Yon  Slade”  62 


CATALOGUE 

NUMBER 


NEAGLE,  John,  N.A. 

Washington  Irving  (1783-1859)  132 

Miss  Neagle  (Mrs,  John  Dickson)  149 

NEWTOX,  Gilbert  Stuart 

Portrait  of  a Lady  34 

XORTHCOTE,  James,  R.A. 

Portrait  of  the  Artist  75 

OPIE,  John,  R.A. 

Portrait  of  Mrs.  Ritterdon  92 

Portrait  of  the  Earl  of  Orpen  94 

OTIS,  Bass 

“Mrs.  Xicolson”  42 

James  Madison  (1751-1836),  Fourth  Presi- 
dent of  the  Flnited  States  (1809-1817)  55 

PEALE,  James 

Captain  (?)  James  Chambers  115 

PEALE,  Rembrandt,  N.A. 

Captain  Dennison  Wood,  New  Yorker  123 

PINE,  Robert  Edge 

William  Ash  {circa  1800)  131 

RAEBURN,  Sir  Henry,  R.A.,  F.R.S.A. 

Portrait  of  Mrs.  Thomas  Linacre  90 

Portrait  of  the  Rev.  Dr.  Franeis  Nieol  91 

Portrait  of  John  Gray,  of  Newhohn  110 

REYNOLDS,  Sir  Joshua,  P.R.A. 

A Romantic  Woody  Landscape  87 

Portrait  of  Archibald  Bower  102 

Portrait  of  JNIrs.  Ilillersden  105 


CATALOGUE 

NUMBER 


REYNOLDS,  Sir  Joshua  {Attributed  to) 

A Young  Girl  7 

ROMNEY,  George 

Portrait  of  a Man  in  a Red  Coat  100 

Portrait  of  Mrs.  Phipps  106 

RUSSELL,  John,  R.A. 

Portrait  of  a Girl  with  a Rose  67 

SAINT  IMEMIN,  ChxVrles  Balthazar  Juliex  Fe^tiet  de 
Two  Portraits:  General  Aquila  Giles  and 

Elizabetli  Shipton  Giles  111 

SARGENT,  Col.  Henry 

Sarali  Anne  St.  John  (1794-1867)  37 

SAVAGE,  Edward  {Attributed  to) 

George  Washington  and  Family  1.52 

SHARPI.es,  James 

Portrait  of  a Man  114 

SMIBERT,  John 

Bishop  George  Berkeley  (168.5-1753)  130 

STOTHARD,  Thomas,  E.A. 

A iMidsuinmer  Night’s  Dream  3 

STUART,  Gilbert,  N.A. 

“Earl  Barrymore”  137 

Sir  Riehard  Arkwright  (1732-1792)  138 

Mrs.  Daniel  Webster  (Grace  Fletcher)  139 

Moses  Brown  (17(?)-1820)  140 

IMatilda  Caroline  Cruger  (1776-1812)  141 


CATALOGUE 

NUMBER 


SULLY,  Thomas,  N.A. 

Double  Picture:  Portrait  of  Miss  Sully  and 

Self-portrait  of  the  Artist  112 

Springtime  116 

“The  Young  Poet”  120 

Robert  Walsh  of  Philadelphia  (1785-1858)  136 

THELTS,  Jekemiah 

Portrait  of  a Boy  with  a Dog  125 

IMrs.  Hendrick  Yan  Buren  (1730-1797): 

Wife  of  Dr.  Hendrick  Yan  Buren  143 

TRUMBULL,  Coloxel  Johx 

Caleb  Strong,  Governor  of  Massachusetts 

(1745-1819)  121 

Sortie  from  Gibraltar  153 

UXIDEXTIFIED 

Portrait  of  a Man  65 

UXKXOWX 

The  Pursuing  Satyr  1 

Portrait  of  a Young  3Ian  4 

Portrait  of  a Man  5 

Portrait  of  a Lady  8 

Portrait  of  a Gentleman  9 

Signers  of  the  Declaration  of  Independence  26 

George  Washington  27 

Bishop  G.  W.  Doane  (1799-1859)  30 

Old  Lady  in  a AVhite  Cap  43 

IMadame  Abiel  Fitch,  Wife  of  Hon.  Thomas 

Fitch  of  Boston  59 

John  Fitch,  Son  of  Hon.  Thomas  Fitch  of 

Boston  60 


CATALOGUE 

NUMBER 


VANDERLYN,  John 

Portrait  of  a Man  118 

WALDO,  Samuel  Lovett,  A.N.A. 

William  Steele  (1762-18.51)  128 

WEBSTER,  Thomas,  R.A. 

Dotheboj^s  Hall  (Squeers  School)  82 

WEST,  Benjamin,  P.R.A. 

Allegorical  44 

The  Holy  Spirit  Descending  upon  Christ  after 

His  Baptism  76 

WHITE,  John  Blake 


Gen.  Marion  in  His  Swamp  Encampment,  in- 


viting a British  Officer  to  Dinner  36 

WILKIE,  Sir  David,  R.A. 

The  Blind  Fiddler  17 

Camping  Gypsies  80 

WILLIAjSIS,  Henry 

Portrait  of  an  Old  Lady  73 

WOOL  ASTON,  John  {Attributed  to) 

Martha  Washington  4.5 


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EARLY  AMERICAN  AND  BRITISH  PORTRAITS 


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, Smith 

^ Illustrated  catalogue 

of  early  Ameriean  and  Brltlsl 

DATE  J tSSUED  TO 

708.144  S647I  58856 


